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COEXRIGHT DEPOSIT. 



SHERWOOD 



SHERWOOD 



OR 



ROBIN HOOD AND THE THREE KINGS 



A Play in Five Acts 



BY 



ALFRED NOYES 



SCHOOL AND ACTING EDITION 
WITH DIRECTIONS FOR PRODUCTION 

BY 

MILNOR DOREY 




NEW YORK 

FREDERICK A. STOKES COMPANY 

PUBLISHERS 






Copyright, 1911, 1921, by 
Frederick A. Stokes Company 



All rights reserved, including rights of production and 

adaptation. The dramatic rights are controlled by the 

author. Application for the right of production, 

whether amateur or professional, should be 

made to the Paget Literary Agency, 500 

Fifth Avenue, New York City. 



ftPR -11921 



PERSONS OF THE DRAMA 



EOBIN 



Little John . . . .' 
Friar Tuck .... 
Will Scarlet .... 
Reynold Greenleaf . 
Much, the Miller's Son 
Alan -A-D ale .... 
Prince John. 
King Eichard, Coeur de 
Lion. 

Blondel 

Oberon 

TiTANIA 

Puck 

The Sheriff of Notting- 
ham. 

FiTZWALTER . . . . 

Shadow-of-a-Leaf 
Arthur Plantagenet 



Earl of Huntingdon, known 
as " Robin Hood." 



Outlaws and followers of 
"Robin Hood.'' 



King Richard's minstrel. 
King of the Fairies. 
Queen of the Fairies. 
A Fairy. 



Queen Elinor . 
Marian Fitzw alter . 



Jenny 

Widow Scarlet 

Prioress of Kirklee. 

Fairies, merry men, 
abbot, a baron, a 
retainers, etc. 



Father of Marian, known as 
''Maid Marian." 

A Fool. 

Nephew to Prince John, a 
boy of about ten years of 
age. 

Mother of Prince John and 
Richard Lion-Heart. 

Known as Maid Marian, be- 
trothed to Robin Hood. 

Maid to Marian. 
' Mother of Will Scarlet. 

serfs, peasants, mercenaries, an 
novice, nuns, courtiers, soldiers, 



ACT I 



SHERWOOD 



ACT I 

Scene I. Night. The borders of the forest. \The 
smouldering emhers of a Saxon homestead.'J The 
Sheriff and his men are struggling with a Serf. 

SERF 

No, no, not that ! not that ! If you should blind me 
God will repay you. Kill me out of hand ! 

\^Enter Prince John and several of his retainers,] 

JOHN 

Who is this night- jar ? 

[The retainers laugh.'] 

Surely, master Sheriff, 
You should have cut its tongue out, first. [Its cries 
Tingle so hideously across the wood 
They^ll wake the King in Palestine.] Small wonder 
That Eobin Hood evades you. 

sheriff 

[To the Serf] 

Silence, dog, 
Know you not better than to make this clamour 
Before Prince John? 

serf 

Prince John ! It is Prince John ! 
For God's love save me, sir! 

JOHN 

Whose thrall is he? 

Note — Passages to be omitted in acting are indicated by heavy 
brackets. 

3 



4 SHERWOOD 

SHERIFF 

I know not, sir, but he was caught red-handed 
Killing the king's deer. By the forest law 
He should of rights be blinded; for, as you see, 
[He indicates the Serf's right hand.'] 
'Tis not his first deer at King Richard's cost. 

JOHN 

'Twill save you trouble if you say at mine. 

[sheriff 

Ay, sir, I pray your pardon — at your cost ! 

His right hand lacks the thumb and arrow-finger, 

And though he vows it was a falling tree 

That crushed them, you may trust your Sheriff, sir, 

It was the law that clipped them when he last 

Hunted your deer.J 

SERF 

Prince, when the Conqueror came, 
They burned my father's homestead with the rest 
To make the King a broader hunting-ground. 
I have hunted there for food. How could I bear 
To hear my hungry children crying? Prince, 
They'll make good bowmen for your wars, one day. 

JOHN 

He is much too fond of " Prince " : he'll never live 
To see a king. Whose thrall ? — his iron collar, 
Look, is the name not on it? 

SHERIFF 

Sir, the name 
Is filed away, and in another hour 
The ring would have been broken. He is one of those 
Green adders of the moon, night-creeping thieves 
Whom Huntingdon has tempted to the woods. 



SHERWOOD 

[These desperate ruffians flee their lawful masters 
And flock around the disaffected Earl 
Like ragged rooks around an elm, by scores! 
And now, i' faith, the sun of Huntingdon 
Is setting fast. They've well nigh beggared him. 
Eaten him out of house and home. They say 
That, when we make him outlaw, we shall find 
Nought to distrain upon, but empty cupboards.] 

JOHN 

Did you not serve him once yourself? 

SHERIFF 

Oh, ay. 
He was more prosperous then. But now my cupboards 
Are full, and his are bare. [Well, I'd think scorn 
To share a crust with outcast churls and thieves. 
Doffing his dignity, letting them call him 
Eobin, or Robin Hood, as if an Earl 
Were just a plain man, which he will be soon, 
When we have served our writ of outlawry!] 
'Tis said he hopes much from the King's return 
And swears by Lion-Heart; and though King Richard 
Is brother to yourself, 'tis all the more 
Ungracious, sir, to hope he should return. 
And overset your rule. [But then — to keep 
Such base communications! Myself would think it 
Unworthy of my sheriffship, much more 
Unworthy a right Earl.] 

JOHN 

[You talk too much! 
This whippet, here, slinks at his heel, you say. 
Mercy may close her eyes, then.] Take him off, 
Blind him or what you will; and let him thank 
His master for it. But wait — perhaps he knows 



6 SHERWOOD 

Where we may trap this young patrician thief. 
Where is your master? 

SERF 

Where you'll never find him. 

JOHN 

Oh, ho ! the dog is faithful ! Take him away. 
Get your red business done. I shall require 
Your men to ride with me. 

SHERIFF 

[To his men.'] 

Take him out yonder, 
A bow-shot into the wood, so that his clamour 
Do not offend my lord. Delay no time, 
The irons are hot by this. They'll give you light 
Enough to blind him by. 

SERF 

[Crying out and struggling as he is forced hack into the 
forest.] 

No, no, not that ! 
God will repay you ! Kill me out of hand ! 

SHERIFF 

[To Prince John.] 

[There is a kind of justice in all this. 
The irons being heated in that fire, my lord, 
Which was his hut, aforetime. 

[Some of the men take the glowing irons from the fire and 
follow into the wood.'\ 

There's no need 
To parley with him, either. The snares are laid 
For Eobin Hood. He goes this very night 
To his betrothal feast. 



SHERWOOD 

JOHN 

Betrothal feast! 

SHERIFF 

At old Fitzwalter's castle, sir. 

JOHN 

That's good ! 
There will be one more guest there than he thought! 
Ourselves are riding thither. We intended 
My Lady Marian for a happier fate 
Than bride to Robin Hood. Your plans are laid 
To capture him ? 

SHERIFF 

\ Consequentially.'] 

It was our purpose, sir. 
To serve the writ of outlawry upon him 
And capture him as he came forth. 

JOHN 

That's well. 
Then — let him disappear — ^you understand? 

SHERIFF 

I have your warrant, sir? Death? A great Earl? 

JOHN 

Why, first declare him outlawed at his feast! 
'Twill gladden the tremulous heart of old Fitzwalter 
With his prospective son-in-law; and then — 
No man will overmuch concern himself 
Whither an outlaw goes. You understand? 

SHERIFF 

It shall be done, sir. 



8 SHERWOOD 

JOHN 

But the Lady Marian ! 
By heaven, I'll take her. I'll banish old Fitzwalter 
If he prevent my will in this. You'll bring 
How many men to ring the castle round? 

SHERIFF 

A good five score of bowmen. 

JOHN 

Then I'll take her 
This very night as hostage for Fitzwalter, 
Since he consorts with outlaws. These grey rats 
Will gnaw my kingdom's heart out. For 'tis mine, 
This England, now or later. They that hold 
By Richard, as their absent king, would make 
My rule a usurpation. God, am I 
My brother's keeper? 

\^There is a cry in the forest from the Serf, who imme- 
diately afterwards appears at the edge of the glade, 
shaTcing himself free from his guards. He seizes 
a weapon and rushes at Prince John. One of the 
retainers runs him through and he falls at the 
Prince's feet.'] 

JOHN 

That's a happy answer ! 

SHERIFF 

[Stooping over the body.] 
He is dead. 

JOHN 

I am sorry. It were better sport 
To send him groping like a hoodman blind 
Through Sherwood, whimpering for his Robin. Come, 



SHERWOOD 9 

I'll ride with you to this betrothal feast. 

Now for my Lady Marian ! 

[Exeunt all. A pause. The scene darkens. Shadowy 

figures creep out from the thickets, of old men, 

women and children.~\ 

FIRST OLD MAN 

[Stretching his arms up to Heaven.^ 

God, am I 
My brother's keeper? Witness, God in heaven. 
He said it and not we — Cain's word, he said it ! 

FIRST WOMAN 

[Kneeling by the body.'] 

Father, Father, and the blood of Abel 
Cries to thee ! 

A BLIND MAN 

[Is there any light here still? 

1 feel a hot breath on my face. The dark 
Is better for us all.] I am sometimes glad 
They blinded me those many years ago. 
Princes are princes; and God made the world 
For one or two it seems. Well, I am glad 

I cannot see His world. 

FIRST WOMAN 

[Still hy the body and whispering to the others.'] 

Keep him away. 
'Tis as we thought. The dead man is his son. 
Keep him away, poor soul. He need not know. 
[Some of the men carry the body among the thickets.l 

A CHILD 

[Mother,] I'm hungry, I'm hungry ! 



10 SHERWOOD 

[first old man 

There's no food 
For any of us to-night. The snares are empty, 
And I can try no more.J 

A BLIND MAN 

Wait till my son 
Comes back. He's a rare hunter is my boy. 
You need not fret, [poor little one.] My son 
Is much too quick and clever for the Sheriff. 
He'll bring you something good. [Why, ha! ha! ha! 
Friends, I've a thought — the Sheriff's lit the fire 
Eeady for us to roast our meat. Come, come. 
Let us be merry vv^hile we may ! My boy 
Will soon come back with food for the old folks. 
The fire burns brightly, eh? 

SECOND OLD MAN 

The fire that feeds 
On hope and eats our hearts away. They've burnt 
Everything, everything !] 

THE BLIND MAN 

[Ah, princes are princes !] 
But when the King comes home from the Crusade, 
We shall have better times. 

FIRST OLD MAN 

Ay, when the King 
Comes home from the Crusade. 

[child 



Mother, I'm hungry.] 



SECOND WOMAN 

Oh, but if I could only find a crust 



SHERWOOD 11 

Left by the dogs. Masters, [the child will starve.J 
We must have food. 

THE BLIND MAN 

I tell you when my boy 
Comes back, we shall have plenty ! 

FIRST WOMAN 

God pity thee! 

THE BLIND MAN 

What dost thou mean? 

[second V70MAN 

Masters, the child will starve.J 

FIRST OLD MAN 

Hist, who comes here — a forester ? 



THE BLIND MAN 



We'd best 



Slip back into the dark. 



FIRST VrOMAN 

[Excitedly.'] 

No, stay! All's well. 
There's Shadow-of-a-Leaf, good Lady Marian's fool, 
Beside him! 

THE BLIND MAN 

Ah, they say there's fairy blood 
In Shadow-of-a-Leaf. But I've no hopes of more 
From him, than wild bees' honey-bags. 
[Enter Little John, a giant figure, leading a donkey, 
laden with a sack. On the other side, Shadow-of- 
a-Leaf trips, a slender figure in green trunk-hose 
and doublet. He is tickling the donkey's ears with 
a long fern.'] 



13 SHERWOOD 

SHADOW-OF-A-LEAF 

Gee ! Whoa ! 
Neddy, my boy, have you forgot the Weaver, 
And how Titania tickled your long ears? 
Ha! ha! Don't ferns remind you? 

LITTLE JOHN 

Friends, my master 
Hath sent me to you, fearing ye might hunger. 

FIRST OLD MAN 

Thy master? 

LITTLE JOHN 

Eobin Hood. 

SECOND WOMAN 

\^Fdlling on her TcneesJ] 

God bless his name. 
God bless the kindly name of Eobin Hood. 

LITTLE JOHN 

^Giving them food.'] 
'Tis well nigh all that's left him; and to-night 
He goes to his betrothal feast. 

[All the outcasts except the first old man exeunt.] 

SHADOV^-OF-A-LEAF 

[Pointing to the donlcey.] 

Now look, 
There's nothing but that shadow of a cross 
On his grey back to tell you of the palms 
That once were strewn before my Lord, the King. 
[Won't ferns, won't branching ferns, do just as well ? 
There's only a dream to ride my donkey now !] 
But, Neddy, I'll lead you home and cry — Hosanna ! 
We'll thread the glad Gate Beautiful again, 



SHERWOOD 13 

Though now there's only a Fool to hold your bridle 
And only moonlit ferns to strew your path, 
And the great King is fighting for a grave 
In lands beyond the sea. Come, Neddy, come, 
Hosanna ! 

[Exit Shadow-of-a-Leaf with the donkey. He strews 
ferns before it as he goes.] 

FIRST OLD MAN 

'Tis a strange creature, master ! Thinkest 
There's fairy blood in him? 

LITTLE JOHN 

'Twas he that brought 
Word of your plight to Eobin Hood. He flits 
Like Moonshine thro' the forest. [He'll be home 
Before I know it. I must be hastening back. 
This makes a sad betrothal night.J 

FIRST OLD MAN 

That minds me, 
Couched in the thicket yonder, we overheard 
The Sheriff tell Prince John . . . 

LITTLE JOHN 

Prince John! 

FIRST OLD MAN 

You'd best 
Warn Pobin Hood. They're laying a trap for him. 
Ay! Now I mind me of it! I heard 'em say 
They'd take him at the castle. 

LITTLE JOHN 

To-night? 



14 SHERWOOD 

FIRST OLD MAN 

To-night ! 
Fly, lad, for God's dear love. Warn Robin Hood! 
Fly like the wind, [or you'll be there too late. 
And yet you'd best be careful.] There's five score 
In ambush round the castle. 

LITTLE JOHN 

I'll be there 
An if I have to break five hundred heads ! 
[He rushes off thro' the forest. The old man goes into 

the thicltet after the others. The scene darkens. 

A soft light, as of the ?noon, appears between the 

ferns to the right of the glade, showing Oberon 

and TiTANiA.] 

TITANIA 

Yet one night more the gates of fairyland 
Are opened by a mortal's kindly deed. 

OBERON 

Last night the gates were shut, and I heard weeping! 

Men, women, children, beat upon the gates 

That guard our happy world. [They could not sleep. 

Titania, must not that be terrible. 

When mortals cannot sleep?] 

TITANIA 

Yet one night more 
Dear Eobin Hood has opened the gates wide 
And their poor weary souls can enter in. 

OBERON 

Yet one night more we woodland elves may steal 
Out thro' the gates. [I fear the time will come 
When they must close for ever ; and we no more 
Shall hold our Sherwood revels.] 



SHERWOOD 15 

TITANIA 

Only love 
And love's kind sacrifice can open them. 
For when a mortal hurts himself to help 
Another, then he thrusts the gates wide open 
Between his world and ours. 

OBERON 

Ay, but that's rare, 
That kind of love, Titania, for the gates 
Are almost always closed. 

TITANIA 

Yet one night more! 
Hark, how the fairy host begins to sing 
Within the gates. Wait here and we shall see 
What weary souls by grace of Eobin Hood 
This night shall enter Dreamland. See, they come ! 
[The soft light deepens in the hollow among the ferns and 
the ivory gates of Dreamland are seen swinging 
open. The fairy host is heard, singing to invite 
the mortals to enter.'] 

[Song of the fairies.] 

The Forest shall conquer! The Forest shall conquer! 
The Forest shall conquer ! 

Your world is growing old; 
But a Princess sleeps in the greenwood, 
Whose hair is brighter than gold. 

The Forest shall conquer! The Forest shall conquer! 
The Forest shall conquer ! 

hearts that bleed and burn. 
Her lips are redder than roses. 
Who sleeps in the faery fern. 



16 SHERWOOD 

The Forest shall conquer! The Forest shall conquer! 
The Forest shall conquer ! 

By the Beauty that wakes anew 
Milk white with the fragrant hawthorn 
In the drip of the dawn-red dew. 

The Forest shall conquer! The Forest shall conquer! 
The Forest shall conquer! 

hearts that are weary of pain, 
Come back to your home in Faerie 
And wait till she wakes again. 

l[The victims of the forest-laws steal out of the thicket 
once more — dai'k, distorted, lame, blind, serfs with 
iron collars round their necks, old men, women and 
children; and as the fairy song breaks into chorus 
they pass in procession thro' the beautiful gates. 
The gates slowly close. The fairy song is heard as 
dying away in the distance. 1^ 

TITANIA 

[Coming out into the glade and holding up her hands to 
the evening star beyond the tree-tops,'] 

Shine, shine, dear star of Love, yet one night more.] 



Scene II. A banqueting hall in Fitzwalter's castle. 
The guests are assemhling for the betrothal feast 
of RoBiN" and Marian. Some of Eobin Hood's 
men, clad in Lincoln green, are just arriving at 
the doors. Shaeow-of-a-Leaf runs forward to 
greet them. 

SHADOW-OF-A-LEAF 

Come in, my scraps of Lincoln green; come in, 

My slips of greenwood. You're much wanted here! 

Head, heart and eyes, we are all pent up in walls 

Of stone — nothing but walls on every side — • 

And not a rose to break them — big blind walls, 

[Neat smooth stone walls ! Come in, my ragged robins ;] 

Come in, my jolly minions of the moon. 

My straggling hazel-boughs! Hey, bully friar, 

Come in, my knotted oak! Ho, little Much, 

Come in, my sweet green linnet. [Come, my cushats, 

Larks, yellow-hammers, fern-owls. Oh, come in, 

Come in, my Dian's foresters, and drown us 

With may, with blossoming may!] 

FITZW ALTER 

Out, Shadow-of-a-Leaf I 
Welcome, welcome, good friends of Huntingdon, 
Or Eobin Hood, by whatsoever name 
You best may love him. 

CRIES 

Robin ! Robin ! Eobin ! 
{Enter Robin Hood.] 

FITZW ALTER 

Eobin, so be it ! Myself I am right glad 

17 



18 SHERWOOD 

To call him at this bright betrothal feast 
My son. 

[Lays a hcmd on Eobin's shoulder,'] 

Yet, though I would not cast a cloud 
Across our happy gathering, you'll forgive 
An old man and a father if he sees 
All your glad faces thro' a summer mist 
Of sadness. 

ROBIN 

Sadness? Yes, I understand. 

FITZWALTER 

No, Eobin, no, you cannot understand. 



ROBIN 
FITZWALTER 

Ay, that's all you think of, boy. 
But I must say a word to all of you 
Before she comes. 

ROBIN 

Why — what? . . 

FITZWALTER 



Where's Marian? 



No need to look 



So startled; but it is no secret here; 
[For many of you are sharers of his wild 
Adventures. Now I hoped an end had come 
To these, until another rumour reached me, 
This very day, of yet another prank.J 
You know, you know, how perilous a road 
My Marian must ride if Huntingdon 
Tramples the forest-laws beneath his heel 
And, in the thin disguise of Eobin Hood, 
Succours the Saxon outlaws, makes his house 
A refuge for them, lavishes his wealth 
To feed their sick and needy. 



SHERWOOD 19 

[The Sheriff aiid two of liis men appear in the great 
doorway out of sight of the guests.'\ 

SHERIFF 

[Whispering. 1 

Not yet ! keep back ! 

One of you go — see that the guards are set ! 
He must not slip us. 

FITZWALTER 

Oh, I know his heart 
Is gold, but this is not an age of gold; 
And those who have must keep, or lose the power 
Even to help themselves. No — he must doff 
His green disguise of Robin Hood for ever. 
And wear his natural coat of Huntingdon. 

ROBIN 

Ah, which is the disguise ? Day after day 

We rise and put our social armour on, 

A different mask for every friend; but steel 

Always to case our hearts. We are all so wrapped. 

So swathed, so muffled in habitual thought 

That now I swear we do not know our souls 

Or bodies from their winding-sheets; but Custom, 

Custom, the great god Custom, all day long 

Shovels the dirt upon us where we lie 

Buried alive and dreaming that we stand 

Upright and royal. Sir, I have great doubts 

About this world, doubts if we have the right 

To sit down here for this betrothal feast 

And gorge ourselves with plenty, when we know 

That for the scraps and crumbs which we let fall 

And never miss, children would kiss our hands 

And women weep in gratitude. [Suppose 

A man fell wounded at your gates, you'd not 

Pass on and smile and leave him there to die. 



20 SHERWOOD 

And can a few short miles of distance blind you ? 

Miles, nay, a furlong is enough to close 

The gates of mercy. Must we thrust our hands 

Into the wounds before we can believe? 

Oh, is our sight so thick and gross? We came. 

We saw, we conquered with the Conqueror. 

We gave ourselves broad lands ; J and when our king 

Desired a wider hunting ground we set 

Hundreds of Saxon homes a-blaze and tossed 

Women and children back into the fire 

If they but wrung their hands against our will. 

And so we made our forest, and its leaves 

Were pitiful, more pitiful than man. 

[They gave our homeless victims the same refuge 

And happy hiding place they give the birds 

And foxes. Then we made our forest-laws. 

And he that dared to hunt, even for food. 

Even on the ground where we had burned his hut. 

The ground we had drenched with his own kindred's blood. 

Poor foolish churl, why, we put out his eyes 

With red-hot irons, cut off both his hands, 

Torture him with such horrors that . . . Christ God,J 

How can I help but fight against it all ? 

[SHADOW-OF-A-LEAF 

Ah, gossips, if the Conqueror had but burned 

Everything with four walls, hut, castle, palace. 

And turned the whole wide world into a forest. 

Drenched us with may, we might be happy then ! 

With sweet blue wood-smoke curling thro' the boughs. 

And just a pigeon's flap to break the silence, 

And ferns, of course, there's much to make men happy. 

Well, well, the forest conquers at the last 1 

I saw a thistle in the castle courtyard, 

A purple thistle breaking thro' the pavement, 

Yesterday ; and it's wonderful how soon 

Some creepers pick these old grey walls to pieces. 



SHERWOOD 21 

These nunneries and these monasteries now. 
They don't spring up like flowers, so I suppose 
Old mother Nature wins the race at last.J 

FITZWALTER 

Eobin, my heart is with you, but I know 
A hundred ages will not change this earth. 

SHADOW-OF-A-LEAF 

[With a candle in his hand.] 

Gossip, suppose the sun goes out like this. 
Pouf! 

[Blows it out.l 
Stranger things have happened 

FITZWALTER 

Silence, fool! . . . 
So, if you share your wealth with all the world 
Earth will be none the better, and my poor girl 
Will suffer for it. Where you got the gold 
You have already lavished on the poor 
Heaven knows. 

FRIAR TUCK 

Oh, by the mass and the sweet moon 
Of Sherwood, so do I ? That's none so hard 
A riddle! 

SHADOW-OF-A-LEAF 

Ah, Friar Tuck, we know, we know ! 
Under the hawthorn bough, and at the foot 
Of rainbows, that's where fairies hide their gold. 
[Cut me a silver penny out of the moon 
Next time you're there. 

[Whispers.] 
Now tell me, have you brought 
Your quarter-staff? 



22 SHERWOOD 

FMAR TUCK 

[Whispering.'] 
Hush ! hush. 



I see it!] 



SHADOW-OF-A-LEAF 

Oh, mum's the word ! 

FITZWALTER 



Believe me, Eobin, there's one way 
And only one — patience ! When Lion-Heart 
Comes home from the Crusade, he will not brook 
This blot upon our chivalry. Prince John 
Is dangerous to a heart like yours. Beware 
Of rousing him. Meanwhile, your troth holds good ; 
But till the King comes home from the Crusade 
You must not claim your bride. 

ROBIN 

So be it, then. ... 
When the great King comes home from the Crusade ! . . . 

FITZV7ALTER 

Meanwhile for Marian's sake and mine, I pray 
Do nothing rash. 
[Enter Widow Scarlet. She goes up to Eobin Hood.] 

WIDOW SCARLET 

Are you that Eobin Hood 
They call the poor man's friend? 

ROBIN 

I am. 

WIDOW SCARLET 

They told me, 
They told me I should find you here. They told me ! 



SHERWOOD 23 

ROBIN 

Come, mother, what's the trouble? 

WIDOW SCARLET 

Sir, my son 
Will Scarlet lies in gaol at Nottingham 
For killing deer in Sherwood ! Sir, they'll hang him. 
He only wanted food for him and me ! 
[They'll kill him, I tell you, they'll kill him. I can't help 
Crying it out. He's all I have, all ! Save him ! 
I'll pray for you, I'll . . .J 

ROBIN 

[To FiTZWALTER, as he raises Widow Scarlet gently to 
her feet.] 

Sir, has not the King 
Come home from the Crusade? Does not your heart 
Fling open wide its gates to welcome him? 

FITZWALTER 

Eobin, you set me riddles. Follow your conscience. 
Do what seems best. 

RO-BIN 

I hope there is a way. 
Mother. I knew Will Scarlet. Better heart 
There never beat beneath a leather jerkin. 
[He loved the forest and the forest loves him; J 
And if the lads that wear the forest's livery 
Of living green should happen to break out 
And save Will Scarlet [as on my soul I swear, 
Mother, they shall !] why, that's a matter none 
Shall answer for to prince, or king, or God, 
But you and Robin Hood ; [and if the judgment 
Strike harder upon us than the heavenly smile 



»4 SHERWOOD 

Of sunshine thro' the greenwood, may it fall 
Upon my head alone.] 

[Enter the Sheriff, with two of his men,'] 

SHERIFF 

\_Reads.~\ 

In the King's name! 
Thou, Earl of Huntingdon, by virtue of this writ are 
hereby attained and deprived of thine earldom, thy lands 
and all thy goods and chattels whatsoever and whereas thou 
hast at divers times trespassed against the officers of the 
king by force of arms, thou art hereby outlawed and ban- 
ished the realm. 

ROBIN 

That's well. 

[He laughs,'] 

It puts an end to the great question 
Of how I shall dispose my wealth, Fitzwalter. 
But " banished " ? — No ! [that is beyond their power 
While I have power to breathe, unless they banish 
The kind old oaks of Sherwood. They may call it 
" Outlawed," perhaps.] 



FITZWALTER 

Who let the viUain in 



Thro' doors of mine ? 



CRIES 

Out with him! Out with him! 
[The guests draw swords and the Sheriff retreats thro' 
the doorway with his men.} 

robin 

Stop! 
Put up your swords ! He had his work to do. 

[WiD0V7 Scarlet falls sohhing at his feet.] 



SHERWOOD 25 

WIDOW SCARLET 

master, master, who will save my son, 
Mj son ? 

ROBIN 

[Eaising her.'] 

Wh}^, mother, this is but a dream. 
This poor fantastic strutting show of law ! 
And you shall wake with us in Sherwood Forest 
And find Will Scarlet in your arms again. 
Come, cheerly, cheerly, we shall overeome 
All this. Hark! 
[A hugle sounds in the distance. There is a scuffle in the 

doorway and Little John hursts in with his head 

bleeding. 1 

LITTLE JOHN 

Master, master, come away! 
They are setting a trap for thee, drawing their lines 
All round the castle. 

ROBIN 

How now. Little John, 
They have wounded thee ! Art hurt ? 

LITTLE. JOHN 

No, no, that's nothing. 
Only a bloody cockscomb. Come, be swift, 
[Or, if thou wert a fox, thou'dst never slip 
Between 'em. J Ah, hear that ? 

[Another bii,gle sounds from another direction.] 

That's number twor. 
Two sides cut off already. When the third 
Sounds — they will have thee, sure as eggs is eggs. 
Prince John is there, Fitzwalter cannot save 'ee. 
They'll burn the castle down. 



26 SHERWOOD 

ROBIN 

Prince John is there ? 

LITTLE JOHN 

Ay, and my lord Fitzwalter had best look 
Well to my mistress Marian, if these ears 
Heard right as I came creeping thro' their lines. 
[Look well to her, my lord, look well to her.J 
Come, master, come, for God's sake, come away. 

FITZWALTER 

Eobin, this is thy rashness. I warned thee, boy ! 
Prince John! Nay, that's too perilous a jest 
For even a prince to play with me. Come, Kobin, 
You must away and quickly. 

ROBIN 

Let me have 
One word with Marian. 

LITTLE JOHN 

It would be the last 
On earth. Come, if you ever wish to see 
Her face again. 

FITZWALTER 

Come, Eobin, are you mad ? 
You'll bring us all to ruin ! 

[He opens a little door in the wall.'] 

The secret passage. 
This brings you out by Much the Miller's wheel, 
Thro' an otter's burrow in the river bank. 
[Come, quick, or you'll destroy us ! Take this lanthorn.] 
If you're in danger, slip into the stream 
And let it carry you down into the heart 
Of Sherwood. Come now, quickly, you must go ! 



SHERWOOD 27 

ROBIN 

The old cave, lads, in Sherwood, you know where 
To find me. [Friar Tuck, bring Widow Scarlet 
Thither to-morrow, with a word or two 
From Lady Marian!] 

FITZWALTEB 

Quickty, quickly, go. 
[He pmhes Robin and Little John into the opening and 

shuts the door. A pause.] 
Oh, I shall pay for this, this cursed folly ! 
Henceforth I sw^ear I wash my hands of him ! 
[Enter Marian, from a door on the right above the ban- 
queting hall. She pauses, pale and frightened, 
on the broad steps leading down.] 

MARIAN 

Father, whereas Robin? 



FITZWALTER 

Child, I bade you stay 

MARIAN 



Until I called you. 



Something frightened me! 
Father, where's Robin? Where's Robin? 

FITZWALTER 

Hush, Marian, hark! 
[All stand listening.] 

SHADOW-OF-A-LEAF 

[Stealing to the foot of the stairs and whispering to Lady 

Marian.] 
Lady, they're all so silent now. I'll tell you 
I had a dream last nidit — there was a man 



28 SHERWOOD 

That bled to death, because of four grey walls 
And a black-hooded nun. 

riTZWALTER 

lAngrily.] 

Hist, Shadow-of-a-Leaf ! 
[The third bugle sounds. There is a clamour at the doors. 
Enter Prince John and his retainers.^ 

JOHN 

[Moclcingly.'] 

Now this is fortunate! I come in time 

To see — Oh, what a picture ! Lady Marian, 

Forgive me — coming suddenly out of the dark 

And seeing you there, robed in that dazzling white 

Above these verdant gentlemen, I feel 

Like one that greets the gracious evening star 

Thro' a gap in a great wood. 

Is aught amiss ? 
Why are you all so silent ? Ah, my good. 
My brave Fitzwalter, I most fervently 
Trust I am not inopportune. 

FITZWALTER 

My lord, 
I am glad that you can jest. I am sadly grieved 
And sorely disappointed in that youth 
Who has incurred your own displeasure. 

JOHN 

Ah? 
Your future son-in-law ? 

FITZWALTER 

Never on earth! 
He is outlawed — 



SHERWOOD 29 

MARIAN 

Outlawed ! 

FITZWALTER 

And I wash my hands 
Of Huntingdon. His shadow shall not darken 
My doors again! 

JOHN 

That's vehement! Ha! ha! 
And what does Lady Marian say ? 

MARIAN 

My father 
Speaks hastily. I am not so unworthy. 

FITZWALTER 

Unworthy ? 

MARIAN 

Yes, unworthy as to desert him 
Because he is in trouble — the bravest man 
In England since the days of Hereward. 
You know why he is outlawed ! 

FITZWALTER 

[To Prince John.] 

Sir, she speaks 
As the spoilt child of her old father's dotage. 
Give her no heed. She shall not meet with him 
On earth again, and till she promise this, 
She'll sun herself within the castle garden 
And never cross the draw-bridge. 

MARIAN 

Then I'll swim 
The moat! 



30 SHERWOOD 

FRIAR TUCK 

Ha! ha! well spoken. 

MARIAN 

Oh, you forget, 
Father, you quite forget there is a King; 
And, when the King comes home from the Crusade, 
Will you forget Prince John and change once more? 
[Murmurs of assent from the Foresters.] 

JOHN 

Enough of this. 
Though I be prince, I am vice-gerent too ! 
Fitzwalter, I would have some private talk 
With you and Lady Marian. Bid your guests 
Eemove a little — 

FITZWALTER 

I'll lead them all within ! 
And let them make what cheer they may. Come, friends. 

[He leads them up the stairs to the inner room.'\ 
My lord, I shall return immediately ! 

[Exeunt Fitzwalter and the guests.'] 

JOHN 

Marian ! 

MARIAN 

My lord ! 

JOHN y 

[Drawing close to her.] \ 

I have come to urge a plea v 

On your behalf as well as on my own! 
Listen, you may not know it — I must tell you. 
I have watched your beauty growing like a flower. 
With — why should I not say it — worship ; yes, 
Marian, I will not hide it. 



SHERWOOD 31 

MARIAN 

Sir, you are mad ! 
[Sir, and your bride, your bride, not three months wedded ! 
You cannot mean . . . 



JOHN 

Listen to me ! Ah, Marian, 
You'd be more merciful if you knew all ! 
D'you think that princes wed to please themselves ?] 

MARIAN 

Sir, [English maidens do; and] I am plighted 
Not to a prince, but to an outlawed man. 

JOHN 

Listen to me! One word! Marian, one word! 
[I never meant you harm ! Indeed, what harm 
Could come of this?] Is not your father poor? 
I'd make him rich! Is not your lover outlawed? 
I'd save him from the certain death that waits him. 
You say the forest-laws afflict your soul 
And his — you say you'd die for their repeal ! 
Well — I'll repeal them. All the churls in England 
Shall bless your name and mix it in their prayers 
With heaven itself. 

MARIAN 

The price ? 

JOHN 

You call it that ! 
To let me lay the world before your feet, 
[To let me take this little hand in mine. 
Why should I hide my love from you?] 



32 SHERWOOD 

MARIAN 

No more, 
I'll hear no more ! You are a prince, you say ? 

JOHN 

One word — suppose it some small sacrifice, 

To save those churls for whom you say your heart 

Bleeds ; yet you will not lift your little finger 

To save them ! [And what hinders you ? — A breath, 

A dream, a golden rule! Can you not break it 

For a much greater end? J 

MARIAN 

I'd die to save them. 



Then live to save them. 



JOHN 



MARIAN 



No, you will not let me ; 
D'you think that bartering my soul will help 
To save another ? [If there's no way but this, 
Then through my lips those suffering hundreds cry, 
We choose the suffering.] All that is good in them, 
All you have left, all you have not destroyed. 
Cries out against you : and I'll go to them. 
Suffer and toil and love and die with them 
Eather than touch your hand. [You over-rate 
Your power to hurt our souls. You are mistaken! 
There is a golden rule !] 

JOHN 

And with such lips 
You take to preaching! I was a fool to worry 
Your soul with reason. With hair like yours — it's hope- 
less! 
But Marian — you shall hear me. 



SHERWOOD 33 

[He catches her in his arms.'\ 

[Yes, by GodJ 
Marian, you shall! [I love you.] 



MARIAN 

[Struggling.'] 



You should not live ! 



[JOHN" 

One kiss, then ! Devil take it.] 

[Enter Fitzwalter above.'] 

MARIAN 

[Wresting herself free.] 

You should not live ! 
Were I a man and not a helpless girl 
You should not live ! 

JOHN 

Come, now, that's very wicked. 
See how these murderous words affright your father. 
My good Fitzwalter, [there's no need to look 
So ghastly. For your sake and hers and mine] 
I have been trying to make your girl forget 
The name of Huntingdon. A few short months 
At our gay court would blot his memory out! 
I promise her a life of dazzling pleasures, 
And, in return she flies at me — a tigress — 
Clamouring for my blood ! Try to persuade her ! 

FITZWALTER 

My lord, you are very good. She must decide 
Herself. 

JOHN 

[Angrily.] 
I'll not be trifled with ! I hold 
The hand of friendship out and you evade it. 



34 SHERWOOD 

[The moment I am gone, back comes your outlaw.] 
You say you have no power with your own child! 
Well, then I'll take her back this very night ; 
Back to the court with me. How do I know 
What treasons you are hatching here ? I'll take her 
As hostage for yourself. 



I have sworn to you. 



FITZWALTER 

My lord, you jest ! 



JOHN 

No more ! If you be loyal. 
What cause have you to fear ? 

FITZWALTER 

My lord, I'll give 
A hundred other pledges; but not this. 

JOHN 

By heaven, will you dictate your terms to me ? 
I say that she shall come back to the court 
This very night! Ho, there, my men. 

[Enter John's retainers.] 

Escort 
This lady back with us. 

FITZVr ALTER 

Back there, keep back. Prince or no prince, 
I say she shall not go ! 

\_He draws his sword.] 

I'd rather see her 
Begging in rags with outlawed Huntingdon 
Than that one finger of yours should soil her glove. 

JOHN 

So here's an end of fawning, here's the truth, 



SHERWOOD 35 

My old white-bearded hypocrite. Come, take her, 
Waste no more time. [Let not the old fool daunt you 
With that great skewer. J 

FITZW ALTER 

[As John's men advance.^ 

[By God, since you will have it,] 
Since you will drive me to my last resort. 
Break down my walls, and hound me to the forest. 
This is the truth ! Out of my gates ! Ho, help ! 
A Eobin Hood ! A Robin Hood ! 

[There is a clamour from the upper room. The doors are 
fuiig open and the Foresters appear at the head 
of the steps.'] 

FRIAR TUCK 

[Commg down into the hall and brandishing his quarter- 
staff,] 

A Robin? 
Who calls on Robin Hood ? His men are here 
To answer. 

FITZW ALTER 

Drive these villains out of my gates. 

FRIAR TUCK 

[To Prince John.] 
Sir, I perceive you are a man of wisdom, 
So let me counsel you. There's not a lad 
Up yonder, but at four-score yards can shoot 
A swallow on the wing. They have drunken deep. 
I cannot answer but their hands might loose 
Their shafts before they know it. Now shall I give 
The word? Ready, my lads! 

[The Foresters make ready to shoot. John hesitates for 
a moment.] 



36 SHERWOOD 

JOHN 

My Lady Marian, 
One word, and then I'll take my leave of you ! 

[She pays no heed.'] 
Farewell, then! I have five-score men at hand! 
[And they shall be but lightning to the hell 
Of my revenge, Fitzwalter. I will not leave 
One stone upon another.] From this night's work 
Shall God Himself not save you. 

[Exeunt John and his men.'\ 

FRIAR TUCK 

[As they go out.'] 

My Lord Fitzwalter ! 
I have confessed him ! Shall I bid 'em shoot ? 
'Twill save a world of trouble. 

FITZWALTER 

No ; or the King 
Himself will come against me. Follow them out. 
Drive them out of my gates, then raise the drawbridge 
And let none cross. Oh, I foresaw, foretold ! 
Eobin has wrecked us all ! 

[Exeunt the Foresters and Fitzwalter. Shadow-of-a- 
Leaf remains alone with Marian.] 

MARIAN 

[She flings herself down on a couch and buries her head in 
her arms.'] 

Eobin, Robin, 
I cannot lose you now ! 

shadow-of-a-leaf 

[Sitting at her feet. The lights grow dim.] 
[Ah, well, the prince 
Promised to break the walls down. Don't you think 
These villains are a sort of ploughshare, lady. 



SHERWOOD 37 

And where they plough, who knows what wheat may 

spring ! 
The lights are burning low and very low; 
So,J Lady Marian, let me tell my dream. , 
There was a forester that bled to death 
Because of four grey walls and a black nun 
Whose face I could not see — but, oh, beware ! 
Though I am but your fool, your Shadow-of-a-Leaf, 
Dancing before the wild winds of the future, 
£1 feel them thrilling through my tattered wits 
Long ere your wisdom feels them. My poor brain 
Is like a harp hung in a willow-tree 
Swept by the winds of fate.] I am but a fool. 
But oh, beware of that black-hooded nun. 

MARIAN 

This is no time for jesting, Shadow-of-a-Leaf. 

SHADOW-OF-A-LEAF 

The lights are burning low. Do you not feel 
A cold breath on your face ? 

MARIAN 

Fling back that shutter ! 
Look out and tell me what is happening. 

SHADOW-OF-A-LEAF 

[Flinging hack the shutter.'] 

[Look, 
Look, gossip, how the moon comes dancing in.] 
Ah, they have driven Prince John across the drawbridge. 
They are raising it, now ! 

[There are cries in the distance, then a heavy sound of 
chains clanking and silence. Shadow-of-a-Leaf 
turns from the window and stands in the stream 
of moonlight, pointing to the door on the left.'] 
Look ! Look ! 



38 SHERWOOD 

MARIAN 

[Starting up with a cry of fear.'] 

Ah! 
[The tall figure of a nun glides into the moonlit hall and 
throwing hack her hood reveals the face of Queen 
Elinor.] 

ELINOR 

Lady Marian, 
Tell me quickly, where is Huntingdon hiding? 

MARIAN 

The Queen! 

ELINOR 

Yes! Yes! I donned this uncouth garb 
To pass through your besiegers. If Prince John 
Discover it, all is lost. Come, tell me quickly. 
Where is Eobin? 

[MARIAN 

Escaped, I hope. 



Not here ? 



ELINOR 
MARIAN 

No! 

ELINOR 

Come, dear Lady Marian, do not doubt me. 
I am here to save you both. 

MARIAN 

He is not here.] 

ELINOR 

[Ah, but] you know where I may find him, Marian. 

[All will be lost if you delay to tell me 

Where I may speak with him.J He is in peril. 



SHERWOOD 39 

By dawn Prince John will have five hundred men 
Beleaguering the castle. [You are all ruined 
Unless you trust me ! Armies will scour the woods 
To hunt him down.J Even now he may be wounded, 
[Helpless to save himself.] 

MARIAN" 

Wounded ! 

ELINOR 

Dear child, 

Take me to him. Here, on this holy cross. 
My mother's dying gift, I swear to you 
I wish to save him. 

MARIAN 

Oh, but how? 



ELINOR 



Trust me ! 



MARIAN" 

Wounded ! He may be wounded ! Oh, if I could, 
I'd go to him ! I am helpless, prisoned here. 



ELINOR 

I alone can save your father. 
Give me your word that if I can persuade him, 
You'll lead me to your lover's hiding place, 
And let me speak with him. 

[Enter Fitzwalter.] 

Ah, my Lord Fitzw^alter ! 

FITZWALTER 

The queen ! [0 madam, madam, I am driven 
Beyond myself.] This girl, this foolish girl 



40 SHERWOOD 

Has brought us all to ruin. This Huntingdon, 
As I foresaw, foresaw, foretold, foretold. 
Has dragged me down with him. 

ELINOR 

I am on your side. 
If you will hear me ; and you yet may gain 
A son in Kobin Hood. 

FITZW ALTER 

Madam, I swear 
I have done with him. £1 pray you do not jest; J 
But if you'll use your power to save my lands . . . 
I was provoked! . . . 
[Prince John required this child here — • 

ELINOR 

Oh, I know! 
But you'll forgive him that ! I do not wonder 
That loveliness like hers — ] 

EITZWALTER 

[Ay, but you'll pardon 
A father's natural anger. Madam, I swear 
I was indeed provoked.^ But you'll assure him 
I've washed my hands of Huntingdon. 

MARIAN 

And yet 
His men are, even now, guarding your walls ! 
Father, you cannot, you shall not — 

EITZWALTER 

Oh, be silent ! 
[Who wrapt me in this tangle?] Are you bent 
On driving me out in my old age to seek 
Shelter in caves and woods? 



SHERWOOD 41 

ELINOR 

My good Fitzwalter, 
It has not come to that ! If you will trust me 
All will be well ; but I must speak a word 
With Robin Hood. 

FITZWALTER 

You! 

ELINOR 

Oh, I have a reason. 
Your daughter knows his hiding place. 

FITZWALTER 

She knows ! 

ELINOR 

Oh, trust them both for that. [I am risking much ! 
To-morrow she shall guide me there. This bird 
Being flov/n J trust me to make your peace with John. 

FITZWALTER 

But — Marian ! 

ELINOR 

She'll be safer far with Robin, 
Than loitering here until your roof-tree burns. 
£1 think you know it.] Fitzwalter, I can save you, 
I swear it on this cross. 

FITZWALTER 

But — Marian ! Marian I 

ELINOR 

Your castle wrapt in flame! . . . 

There^s nought to fear, 
If she could — Marian, once, at a court masque, 
You wore a page's dress of Lincoln green. 



42 SHERWOOD 

[And a green hood that muffled half your face, 
I could have sworn 'twas Eobin come again — 
He was my page, you know — J 
Wear it to-morrow — go, child, bid your maid 
Make ready — we'll set out betimes. 

MARIAN- 

\_Going up to her father.'] 

I'll go, 
If you will let me, father. He may be wounded ! 
Father, forgive me. Let me go to him. 

ELINOR 

Go, child, first do my bidding. He'll consent 
When you return. 

[Exit Marian.] 
My dear good friend Fitzwalter, 
Trust me, I have some power with Huntingdon. 
All shall be as you wish. I'll let her guide me. 
But — as for her — she shall not even see him 
Unless you wish. Trust me to wind them all 
Around my little finger. 

FITZWALTER 

[It is dark here. 
Let us within.] Madam, I think you are right. 
And you'll persuade Prince John ? 

ELINOR 

[As they go up the steps.] 

I swear by this, 
This holy cross, my mother's dying gift ! 

FITZWALTER 

It's very sure he'd burn the castle down. 
[Exeunt.li 



SHERWOOD 43 

SHADOW-OF-A-LEAP 

[Coming out into the moonliglit and staring up after 

them.] 
The nun ! The nun ! They'll whip me if I speak, 
For I am only Shadow-of-a-Leaf, the Fool. 

ICurtain.l 



ACT II 



ACT II 

Scene I. Sherwood Forest: An open glade, showing on 
the right the mouth of the outlaw's cave. It 
is about sunset. The giant figure of Little 
John comes out of the cave, singing. 

LITTLE JOHN 

[Sings.] 
When Spring comes back to England 
And crowns her brows with may, 
Round the merry moonlit world 
She goes the greenwood way. 
[He stops and calls in stentorian tones.'] 
Much! Much! Much! [Where has he vanished now,J 
Where has that monstrous giant the miller's son 
Hidden himself? 

[Enter Much, a dwarf-like figure, carrying a large bundle 
of ferns.] 

MUCH 

Hush, hush, child, here I am! 
And here's our fairy feather-beds, ha ! ha ! 
[Come, praise me, praise me, for a thoughtful parent.] 
There's nothing makes a better bed than ferns 
Either for sleeping sound or rosy dreams. 

LITTLE JOHN 

Take care the fern-seed that the fairies use 
Get not among thy yellow locks, my Titan, 
Or thou'lt wake up invisible. There's none 
Too much of Much already. 

47 



48 SHERWOOD 

MUCH 

\_LooMng up at him impudently.^ 

It would take 
Our big barn full of fern-seed, I misdoubt. 
To make thee walk invisible, Little John, 
[My sweet Tom Thumb! And, in this troublous age 
Of forest-laws, if we night-walking minions. 
We gentlemen of the moon, could only hunt 
Invisible, there's many and many of us 
With thumbs lopped off, eyes gutted and legs pruned, 
Slick, like poor pollarded pear-trees, would be lying 
Happy and whole this day beneath the boughs.] 

LITTLE JOHN 

Invisible? Ay, but what would Jenny say 
To such a ghostly midge as thou would'st be 
Sipping invisibly at her cherry lips. 

MUCH 

Why, there now, that's a teaser. [E'en as it is 

(Don't joke about it)] my poor Jenny takes 

The smallness of her Much sorely to heart ! 

And though I often tell her half a loaf 

(Ground in our mill) is better than no bread. 

She weeps, poor thing, that an impartial heaven 

Bestows on her so small a crumb of bliss 

As me ! You'd scarce believe, now, half the nostrums, 

[Possets and strangely nasty herbal juices] 

That girl has made me gulp, in the vain hope 

That I, the frog, should swell to an ox like thee. 

[I tell her it's all in vain, and she still cheats 

Her fancy and swears I've grown well nigh three feet 

Already. Lord, she's desperate. She'll advance 

Eight inward to the sources of creation. 

She'll take the reins of the world in hand. She'll stop 

The sun like Joshua, turn the moon to blood, 



SHERWOOD 49 

And if I have to swallow half the herbs 
In Sherwood, I shall stalk a giant yet, 
Shoulder to shoulder with thee, Little John, 
And crack thy head at quarter-staff. But don't,J 
Don't joke about it. 'Tis a serious matter. 

LITTLE JOHN 

Into the cave, then, with thy feather-bed. 
Old Much, thy father, waits thee there to make 
A table of green turfs for Eobin Hood. 
We shall have guests anon, [0 merry times. 
Baron and Knight and abbot, all that ride 
Through Sherwood, all shall come and dine with him 
When they have paid their toll ! Old Much is there 
Growling at thy delay.] 

MUCH 

\_Going towards the cave.'] 

0, my poor father. 
Now, there's a sad thing, too. He's so ashamed 
Of his descendants. Why for some nine years 
He shut his eyes whenever he looked at me ; 
[And I have seen him on the village green 
Pretend to a stranger, once, who badgered him 
With curious questions, that I was the son 
Of poor old Gaffer Bramble, the lame sexton. 
That self-same afternoon, up comes old Bramble 
White hair a-blaze and big red waggling nose 
All shaking with the palsy; bangs our door 
Clean off its hinges with his crab-tree crutch, 
And stands there — framed — against the sunset sky ! 
He stretches out one quivering fore-finger 
At father, like the great Destroying Angel 
In the stained window : straight, the milk boiled over. 
The cat ran, baby squalled and mother screeched. 
Old Bramble asks my father — what — what — what 



50 SHERWOOD 

He meant — he meant — he meant! You should have 

seen 
My father's hopeless face ! Lord, how he blushed, 
Eed as a beet-root ! Lord, Lord, how he blushed !] 
*Tis a hard business when a parent looks 
Askance upon his offspring. 

lExit into the cave.^ 

LITTLE JOHN 

Skip, you chatterer! 
Here comes our master. 

[Enter Eobin Hood.] 

Master, where hast thou been? 
I feared some harm had come to thee. What's this ? 
This was a cloth-yard shaft that tore thy coat ! 

ROBIN" 

Oh, ay, they barked my shoulder, devil take them. 

I got it on the borders of the wood. 

St. Nicholas, my lad, they're on the watch. 

LITTLE JOHN 

What didst thou there ? They're on the watch, i' faith ! 
A squirrel could not pass them. Why, my namesake 
Prince John would sell his soul to get thy head, 
And both his ears for Lady Marian; 
[And whether his ears or soul be worth the more, 
I know not. When the first lark flittered up 
To sing, at dawn, I woke; and thou wast gone. 
What didst thou there ?] 

ROBIN 

Well, first I went to swim 
In the deep pool below the mill. 



SHERWOOD 51 

LITTLE JOHN 

I swam 
Enough last night to last me many a day. 
What then? 

ROBIN 

[I could not wash away the thought 
Of all you told me. If Prince John should dare ! 
That helpless girl ! No, no, I will not think it.] 
Why, Little John, I went and tried to shoot 
A grey goose wing thro' Lady Marian's casement. 

LITTLE JOHN 

Oh, ay, and a pink nosegay tied beneath it. 
Now, master, you'll forgive your Little John, — 
But that's a midsummer madness [and the may 
Is only half in flower as yet. J But why — 
You are wounded — ■ why are you so pale ? 

ROBIN 

No — no — 
Not wounded ; but oh, my good faithful friend. 
She is not there ! I wished to send her warning. 
I could not creep much closer ; but I swear 
I think the castle is in the hands of John. 
I saw some men upon the battlements, 
Not hers — I know — not hers! 

LITTLE JOHN 

Hist, who comes here ? 
[He seizes his how and stands ready to shoot.l 

ROBIN 

Stop, man, it is the fool. Thank God, the fool, 
Shadow-of-a-Leaf, my Marian's dainty fool. 
How now, good fool, what news? What news? 
[Enter Shadow-of-a-Leaf.] 



62 SHERWOOD 

SHADOW-OF-A-LEAP 

Good fool! 
Should I be bad, sir, if I chanced to bring 
No news at all? That is the wise man's way. 
Thank heaven, I've lost my wits. I am but a leaf 
Dancing upon the wild winds of the world, 
A prophet blown before them. [Well, this evening, 
It is that lovely grey wind from the West 
That silvers all the fields and all the seas, 
And I'm the herald of May ! J 

EOBIN 

Come, Shadow-of-a-Leaf, 
I pray thee, do not jest. 

SHADOV^-OF-A-LEAP 

I do not jest. 
I am vaunt-courier to a gentleman, 
A sweet slim page in Lincoln green who comes. 
Wood-knife on hip, and wild rose in his face, 
With golden news of Marian. [Oh, his news 
Is one crammed honeycomb, swelling with sweetness 
In twenty thousand cells ; but delicate !] 
So send thy man aside. 

ROBIN 

Gro, Little John. 
[Little John goes into the cave,'] 
Well, Shadow-of-a-Leaf, where is he? 

SHADO V^-O F- A-LEAF 

At this moment 
His hair is tangled in a rose bush : hark, 
He swears, like a young leopard ! Nay, he is free. 



SHERWOOD 63 

Come, master page, here is that thief of love, 
Give him your message. I'll to Little John. 
[Exit into the cave. Enter Marian, as a page in Lincoln 
green her face muffled in a hood.] 

ROBIN 

Good even, master page, what is thy news. 
Of Lady Marian? 

[She stands silent.] 
Answer me quickly, come, 
Hide not thy face ! 

[She still stands muffled and silent.] 

Come, boy, the fool is chartered. 
Not thou ; and I'll break off this hazel switch 
And make thee dance if thou not answer me. 
What ? Silent still ? Sirrah, this hazel wand 
Shall lace thee till thou tingle, top to toe. 
I'll . . . 



Robin ! 



MARIAN 

[Unmuffling.] 

ROBIN 



[Catches her in his arms with a cry.~\ 
Marian ! Marian ! 



MARIAN 

Robin, you did not know me. 



Fie upon you, 



ROBIN 

[Embracing her.] 

Oh, you seemed 
Ten thousand miles away. This is not moonlight, 
And I am not Endymion. Could I dream 
My Dian would come wandering through the fern 



54 SHERWOOD 

Before the sunset? [Even that rose your face 
You muffled in its own green leaves.] 

MARIAN" 

But you. 
Were hidden in the heart of Sherwood, Eobin, 
[Hidden behind a million mighty boughs,] 
And yet I found you. 

ROBIN 

Ay, the young moon stole 
In pity down to her poor shepherd boy ; 
[But he could never climb the fleecy clouds 
Up to her throne, never could print one kiss 
On her immortal lips. He lay asleep 
Among the poppies and the crags of Latmos, 
And she came down to him, his queen stole down.] 

MARIAN 

Oh, Eobin, first a rose and then a moon, 

[A rose that breaks at a breath and falls to your feet,] 

The fickle moon — Oh, hide me from the world ; 

[For there they say love goes by the same law! 

Let me be outlawed then. I cannot change.] 

Sweetheart, sweetheart. Prince John will hunt me down ! 

Prince John — Queen Elinor will hunt me down ! 

ROBIN 

Queen Elinor ! 'Nay, but tell me what this means ? 
How came you here ? 

MARIAN 

The Queen — she came last night, 
[Made it an odious kind of praise to me 
That he, not three months wedded to his bride. 
Should — pah ! 



SHERWOOD 55 

And thenj she said five hundred men 
Were watching round the borders of the wood ; 
But she herself would take me safely through them. 
Said that I should be safer here with Robin, 
She had your name so pat — and I gave way. 
[Enter Queen Elinor heliind. She conceals herself to 
listen.'] 

ROBIN 

Marian, she might have trapped you to Prince John. 

MARIAN 

No ; no ; I think she wanted me to guide her 
Here to your hiding place. She wished to see you 
Herself, unknown to John, I know not why. 
[It was my only way. Her skilful tongue 
Quite won my father over, made him think. 
Poor father, clinging to his lands again. 
He yet might save them. And so, without ado 
(It will be greatly to the joy of Much, 
Your funny little man),] I bade my maid 
Jenny, go pack her small belongings up 
This morning, and to follow with Friar Tuck 
And Widow Scarlet. They'll be here anon. 

ROBIN 

Where did you leave the Queen? 

MARIAN 

Eobin, she tried 
To kill me ! We were deep within the wood 
And she began to tell me a wild tale. 
Saying that I reminded her of days 
When Robin was her page, and how you came 
To Court, a breath of April in her life. 
And how you worshipped her, and how she grew 
To love you. But she saw you loved me best 



56 SHERWOOD 

[(So would she mix her gall and lies with honey),] 
So she would let you go. And then she tried 
To turn my heart against you, bade me think 
Of all the perils of your outlawry, 
Then flamed with anger when she found my heart 
Steadfast ; and when I told her we drew nigh 
The cave, she bade me wait and let her come 
First, here, to speak with you. [Some deviPs trick 
Gleamed in her smile, the way some women have 
Of smiling with their lips, wreathing the skin 
In pleasant ripples, laughing with their teeth. 
While the cold eyes watch, cruel as a snake's 
That fascinates a bird.] I'd not obey her. 
She whipped a dagger out. Had it not been 
For Shadow-of-a-Leaf, who dogged us all the way. 
Poor faithful fool, and leapt out at her hand. 
She would have killed me. Then she darted away 
Like a wild thing into the woods, trying to find 
Your hiding place most like. 

ROBIN 

Marian, why, 
Why did you trust her ? Listen, who comes here ? 

[Enter Friar Tuck, Jenny and Widow Scarlet.] 
Ah, Friar Tuck! 

MARIAN 

Good Jenny! 

ROBIN 

And Widow Scarlet! 

FRIAR TUCK 

children, children, this is thirsty weather! 

The heads I have cracked, the ribs I have thwacked, the 
bones 

1 have bashed with my good quarter-staff, to bring 
These bits of womankind through Sherwood Forest. 



SHERWOOD 57 

ROBIN 

What, was there scuffling, friar ? 

FRIAR TUCK 

Some two or three 
Pounced on us, ha! ha! ha! 

JENNY 

A score at least. 
Mistress, [most unchaste ruffians.] 

FRIAR TUCK 

They've gone home, 
Well chastened by the Church. This pastoral staff 
Mine oaken Pax Vohiscum, sent 'em home 
[To think about their sins, with watering eyes. 
You never saw a bunch of such blue faces. 
Bumpy and juicy as a bunch of grapes 
Bruised in a Bacchanalian orgy, dripping 
The reddest wine a man could wish to see.] 

ROBIN 

I picture it — those big brown hands of thine 
[Grape-gathering at their throttles, ha! ha! ha!] 
Come, Widow Scarlet, come, look not so sad. 

WIDOW SCARLET 

master, master, they have named the day 
For killing of my boy. 

ROBIN 

They have named the day 
For setting of him free, then, my good dame. 
Be not afraid. We shall be there, eh. Friar? 
[Grape-gathering, eh?] 



68 SHERWOOD 

FRIAR TUCK 

Thou'lt not be there thyself 
My son, the game's too dangerous now, methinks. 

ROBIN 

I shall be there myself. The game's too good 
To lose. We'll all be there. You're not afraid, 
Marian, to spend a few short hours alone 
Here in the woods with Jenny. 



MARIAN 

Robin. 



Not for myself. 



ROBIN 

We shall want every hand that day. 
And you'll be safe enough. You know we go 
Disguised as gaping yokels, old blind men. 
With patches on their eyes, poor wandering beggars, 
[Pedlars with pins and poking-sticks to sell;] 
And when the time is come — « a merry blast 
Eings out upon a bugle and suddenly 
The Sheriff is aware that Sherwood Forest 
Has thrust its green boughs up beneath his feet. 
Off go the cloaks and all is Lincoln green, 
[Great thwacking clubs and twanging bows of yew. 
Oh, we break up like nature thro' the laws 
Of that dark world; and then, good Widow Scarlet, 
Back to the cave we come and your good Will 
Winds his big arm about you once again.] 
Go, Friar, take her in and make her cosy. 
Jenny, your Much will grow three feet at least 
With joy to welcome you. He is in the cave. 
[Friar Tuck and Widow Scarlet go towards the cave.} 

FRIAR TUCK 

Now for a good bowse at a drinking can. 



SHERWOOD 59 



I've got one cooling in the cave, unless 
That rascal, Little John, has drunk it all. 
[Exeunt into cave.'] 

JENNY 

[To Marian.] 
Mistress, I haven't spoke a word to you 
For nigh three hours. 'Tis most unkind, I think. 

MARIAN 

Go, little tyrant, and be kind to Much. 

JENNY 

Mistress, it isn't Much I want. Don't think 
Jenny comes trapesing through these awful woods 
For Much. I haven't spoke a word with you 
For nigh three hours. 'Tis most unkind, I think. 

MARIAN 

Wait, Jenny, then, I'll come and talk with you. 
Eobin, she is a tyrant ; but she loves me. 
[And if I do not go, she'll pout and sulk 
Three days on end. But she's a wondrous girl. 
She'd work until she dropped for me. 'Poor Jenny !] 

ROBIN 

[That's a quaint tyranny.] Go, dear Marian, go; 

But not for long. We have so much to say. 

Come quickly back. 

[Exit Marian. Eobin paces thoughtfully across the glade. 

Queen Elinor steals out of her hiding place and 

stands before him.'] 

You here! 

ELINOR 

Eobin, can you 
Believe that girl? Am I so treacherous? 



60 SHERWOOD 

ROBIN 

It seems you have heard whatever I had to say. 

ELINOR 

Surely you cannot quite forget those days 

When you were kind to me. Do you remember 

The sunset through that oriel? 

ROBIN 

Ay, a god 
Grinning thro' a horse-collar at a pitiful page, 
Dazed with the first red gleam of what he thought 
Life, as the trouveres find it! I am ashamed, 
Kemembering how your quick tears blinded me! 

ELINOR 

Ashamed! You — you — that in my bitter grief 
When Rosamund — 

ROBIN 

I know! I thought your woes, 
Those tawdry relics of your treacheries. 
Wrongs quite unparalleled. I would have fought 
Eoland himself to prove you spotless then. 

ELINOR 

Oh, you speak thus to me! Robin, beware! 
I have come to you, I have trampled on my pride. 
Set all on this one cast ! If you should now 
Reject me, humble me to the dust before 
That girl, beware! I never forget, I warn you; 
I never forgive. 

ROBIN 

Are you so proud of that ? 



SHERWOOD 61 



ELINOR 



Ah, well, forgive me, Robin. I'll save you yet 
From all these troubles of your outlawry ! 
Trust me — for I can wind my poor Prince John 
Around my little finger. Who knows — [with me 
To help you — there are but my two sons' lives 
That greatly hinder it] — why, yourself might reign 
Upon the throne of England. 

ROBIN 

Are you so wrapped 
In treacheries, helplessly false, even to yourself, 
That now you do not know falsehood from truth, 
Darkness from light? 

ELINOR 

Robin, I was true 
At least to you. If I were false to others, 
At least I — 

ROBIN 

^"0 — not that — [that sickening plea 
Of truth in treachery.] Treachery cannot live 
With truth. The soul wherein they are wedded dies 
Of leprosy. 

ELINOR 

IComing closer to him.'] 

Have you no pity, Robin, 
No kinder word than this for the poor creature 
That crept — Ah, feel my heart, feel how it beats ! 
No pity? 

[robin 

Five years ago this might have moved me ! 

ELINOR 

No pity?] 



62 SHERWOOD 

ROBIN 

None. There is no more to say. 
My men shall guide you safely through the wood. 

ELINOR 

I never forgive! 

[Enter Marian from the cave; she stands silent and 
startled.] 

ROBIN 

My men shall guide you back. 
[Calls.] 
Ho, there, my lads! 

[Enter several of the Outlaws.] 

This lady needs a guide 
Back thro' the wood. 

ELINOR 

Good-bye, then, Eobin, and good-bye to j^ou, 
Sweet mistress! You have wronged me! What of that? 
For — when we meet — Come, lead on, foresters ! 
[Exeunt the Queen and her guides.] 

MARIAN 

Eobin, Eobin, how the clouds begin 

To gather — how that woman seems to have brought 

A nightmare on these woods. 

ROBIN 

Forget it all! 
She is so tangled in those lies the world 
Draws round some men and women, none can help her. 
[Marian, for God's sake, let us quite forget 
That nightmare! Oh, that perfect brow of yours. 
Those perfect eyes, pure as the violet wells 
That only mirror heaven and are not dimmed 



SHERWOOD 63 

Except by clouds that drift thro' heaven and catch 
God's glory in the sunset and the dawn.] 

MARIAN 

[It is enough for them simply to speak 
The love they hold for you.] But — I still fear. 
Eobin — think you — she might have overheard 
Your plan — the rescue of Will Scarlet ? 

ROBIN 

Why — 
No — No — some time had passed, [and yet — • she seemed 
To have heard your charge against her! No, she guessed 

it.] 

Come — let us brush these cobwebs from our minds, 

[Look how the first white star begins to tremble 

Like a big blossom in that sycamore.] 

Now you shall hear our forest ritual. 

Ho, Little John ! Summon the lads together ! 

[The Outlaws come out of the cave. Little John blows 

a bugle and others come in from the forest.] 
Friar, read us the rules. 

friar tuck 

First, shall no man 
Presume to call our Eobin Hood or any 
By name of Earl, lord, baron, knight or squire, 
But simply by their names as men and brothers : 
Second, that Lady Marian while she shares 
Our outlaw life in Sherwood shall be called 
Simply Maid Marian. Thirdly, we that follow 
Eobin, shall never in thought or word or deed 
Do harm to widow, wife or maid; [but hold. 
Each, for his mother's or sister's or sweetheart's sake, 
The glory of womanhood, a sacred thing, 
A star twixt earth and heaven.] Fourth, whomsoever 
Ye meet in Sherwood ye shall bring to dine 



64 SHERWOOD 

With Eobin, [saving carriers, posts and folk 
That ride with food to serve the market towns 
Or any, indeed, that serve their fellow men.] 
Fifth, you shall never do the poor man wrong, 
Nor spare a priest or usurer. You shall take 
The waste wealth of the rich to help the poor, 
[The baron's gold to stock the widow's cupboard,] 
The naked ye shall clothe, the hungry feed. 
And lastly shall defend with all your power 
All that are trampled under by the world, 
The old, the sick and all men in distress. 

KOBIN 

So, if it be no dream, we shall at last 
Hasten the kingdom of God's will on earth. 
There shall be no more talk of rich and poor, 
Norman and Saxon. We shall be one people. 
One family, clustering all with happy hands 
And faces round that glowing hearth, the sun. 
Now let the bugle sound a golden challenge 
To the great world. Greenleaf, a forest call! 

[Eeynold Greenleaf blows a resounding call.'] 
Now let the guards be set ; and then, to sleep ! 
To-morrow there'll be work enough for all. 
The hut for Jenny and Maid Marian ! 
Come, you shall see how what we lack in halls 
We find in bowers. Look how from every branch 
Such tapestries as kings could never buy 
Wave in the starlight. You'll be waked at dawn 
By feathered choirs whose notes were taught in heaven. 

MUCH 

Come, Jenny, come, we must prepare the hut 
For Mistress Marian. Here's a bundle of ferns! 
[They go into the hut. The light is growing dimmer and 
richer.] 



SHERWOOD 65 

[little JOHN 

And here's a red cramoisy cloak, a baron 

[Handing them in at the door.'\ 
Dropt, as he fled one night from Eobin Hood ; 
And here's a green, and here's a midnight blue, 
All soft as down. But wait, I'll get you more. 
[Two of the Outlaws appear at the door with deerskins. 

Shadow-of-a-Leaf stands behind them with a great 

hunch of flowers and ferns,'] 

FIRST outlaw 
Here's fawn-skins, milder than a maiden's cheek. 

SHADOW-OF-A-LEAF 

Oh, you should talk in rhyme ! The world should sing 
Just for this once in tune, if Love were king! 

SECOND OUTLAW 

Here's deer-skins, for a carpet, smooth and meek.] 

SHADOW-OF-A-LEAF 

[I knew you would ! J Ha ! ha ! Now look at what I 

bring ! 
[He throws flowers into the hut, spray hy spray, speaking 

in a kind of ecstasy. 1 
Here's lavender and love and sweet wild thyme. 
And dreams and blue-bells that the fairies chime, 
Here's meadow-sweet and moonlight, bound in posies, 
With ragged robin, traveller's Joy and roses. 
And here — just three leaves from a weeping willow ; 
And here — that's best — deep poppies for your pillow. 

MUCH 

And here's a pillow that I made myself. 

Stuffed with dry rose-leaves and grey pigeon's down, 

The softest thing on earth except my heart! 



66 SHERWOOD 

SHADOW-OF-A-LEAF 

[Going aside and throwing himself down among the ferns 

to watch.'] 
[[Just three sweet breaths and then the song is flown !] 
[Much looks at him for a moment with a puzzled face, 

then turns to the hut again.] 

MUCH 

Jenny, here, take it — though I'm fond of comforts, 
Take it and give it to Maid Marian. 

JENNY 

Why, Much, 'tis bigger than thyself. 

MUCH 

Hush, child. 
I meant to use it lengthways. 'Twould have made 
A feather-bed complete for your poor Much, 
Take it ! 

[The Outlaws all go into the cave.] 

MARIAN 

Eobin, what a fairy palace! 
How cold and grey the walls of castles seem 
Beside your forest's fragrant halls and bowers. 
I do not think that I shall be afraid 
To sleep this night, as I have often been 
Beneath our square bleak battlements. ^ 

ROBIN 

And look. 
Between the boughs, there is your guard, all night, 
That great white star, white as an angel's wings, 
White as the star that shone on Bethlehem! 
Good-night, sweetheart, good-night ! 



MARIAN 



Good-night ! 



SHERWOOD 67 

[robin 

One kiss! 

Oh, clear bright eyes, dear heavens of sweeter stars, 

Where angels play, and your own sweeter sorl 

Smiles like a child into the face of God, 

Good-night ! Good-night !] 

[Marian goes into the hut. The door is shut. Robin 
goes to the mouth of the cave and throws himself 
down on a couch of deerskins. The light grows 
dimly rich and fairy-like.^ 

SHADOW-OF-A-LEAF 

[Rising to his knees.'] 

Here conies the little cloud ! 
[A little moonlit cloud comes floating down between the 
tree-tops into the glade. Titania is seen reposing 
upon it. She steps to earth. The cloud melts 
away.] 
How blows the wind from fairyland, Titania? 

TITANIA 

Shadow-of-a-Leaf, the wicked queen has heard 
Your master's plan for saving poor Will Scarlet. 
She knows Maid Marian will be left alone. 
Unguarded in these woods. The wicked Prince 
Will steal upon her loneliness. He plots 
To carry her away. 

SHADOW-OF-A-LEAF 

What can we do? 
Can I not break my fairy vows and tell? 

TITANIA 

No, no; you cannot, even if you would. 
Convey our fairy lore to mortal ears. 
[When have they heard our honeysuckle bugles 
Blowing reveille to the crimson dawn?] 



68 SHERWOOD 

We can but speak by dreams ; and, if you spoke, 
They'd whip you, for your words would all ring false 
Like sweet bells out of tune. 

SHADOW-OP-A-LEAP 

What can we do? 

TITANIA 

Nothing, except on pain of death, to stay 

The course of Time and Tide. There's Oberon! 

SHADOW-OF-A-LEAP 

Oberon ! 

TITANIA 

He can tell you more than I. 
[Enter Obeeon.] 

OBERON 

Where's Orchis? Where's our fairy trumpeter 
To call the court together? 

ORCHIS 

Here, my liege. 

OBERON" 

Bugle them hither; [let thy red cheeks puff 

Until thy curled petallic trumpet thrill 

More loudly than a yellow-banded bee 

Thro' all the clover clumps and boughs of thyme. 

They are scattered far abroad.] 

ORCHIS 

My liege, it shall 
Outroar the very wasp! 

[Exif] 



SHERWOOD 69 

OBERON 

[[i4s he speaksi^ the fairies come flocking from all sides 
into the glade.l 

[Metliinks they grow 
Too fond of feasting. As I passed this way 
I saw the fairy halls of hollowed oaks 
All lighted with their pale green glow-worm lamps. 
And under great festoons of maiden-hair 
Their brilliant mushroom tables groaned with food. 
Hundreds of rose-winged fairies banqueted! 
All Sherwood glittered with their prismy goblets 
Brimming the thrice refined and luscious dew 
Not only of our own most purplest violets, 
But of strange fragrance, wild exotic nectars, 
Drawn from the fairy blossoms of some star 
Beyond our tree-tops! Ay, beyond that moon 
Which is our natural limit — the big lamp 
Heaven lights upon our boundary.] 

ORCHIS 

Mighty King, 
The Court is all attendant on thy word. 

OBERON" 

[With great dignity.] 
[Elves, pixies, nixies, gnomes and leprechauns,] 

[He pauses.] 
We are met, this moonlight, for momentous councils 
Concerning those two drowsy human lovers, 
Maid Marian and her outlawed Eobin Hood. 
They are in dire peril; yet we may not break 
Our vows of silence. [Many a time 
Has Eobin Hood by kindly words and deeds 
Done in his human world, sent a new breath 
Of life and joy like Spring to fairyland; 
And at the moth-hour of this very dew-fall. 
He saved a fairy, whom he thought, poor soul, 



70 SHERWOOD 

Only a may-fly in a spider's web, 
He saved her from the clutches of that Wizard, 
That Cruel Thing, that dark old Mystery, 
Whom ye all know and shrink from — 

[Exclamations of horror from the fairies.'] 

Plucked her forth, 
So gently that not one bright rainbow gleam 
Upon her wings was clouded, not one flake 
Of bloom brushed off — there lies the broken web. 
Go, look at it; and here is pale Perilla 
To tell you all the tale. 

[The fairies cluster to look at the web, e^c.]] 

A FAIRY 

Can we not make them free 
Of fairyland, like Shadow-of-a-Leaf, to come 
And go, at will, upon the wings of dreams? 

OBERON 

Not till they lose their wits like Shadow-of-a-Leaf. 

SHADOW-OF-A-LEAF 

Can I not break my fairy vows and tell? 

OBERON 

Only on pain of what we fairies call 
Death ! 

SHADOW-OF-A-LEAP 

Death? 

OBERON 

Never to join our happy revels, 
Never to pass the gates of fairyland 
Again, but die like mortals. What that means. 
We do not know — 'who knows? 



SHERWOOD 71 

SHADOW-OF-A-LEAF 

If I could save them ! — 
I am only Shadow-of-a-Leaf ! 

OBERON 

There is a King 
Beyond the seas. If he came home in time, 
All might be well. [We fairies only catch 
Stray gleams, wandering shadows of things to come.] 

TITANIA 

Oh, if the King came home from the Crusade! 

SHADO W-O F- A-LEAF 

Why will he fight for graves beyond the sea? 

OBERON 

Our elfin couriers brought the news at dusk 

That Lion-Heart, while wandering home thro' Europe, 

In jet-black armour, like an errant knight. 

Despite the great red cross upon his shield. 

Was captured by some wicked prince and thrust 

Into a dungeon. Only a song, they say. 

Can break those prison-bars. There is a minstrel 

That loves his King. If he should roam the world 

Singing until from that dark tower he hears 

The King reply, the King would be set free. 

TITANIA 

Only a song, only a minstrel? 

OBERON 

Ay; 
And Blondel is his name. 

[A long, low sound of wailing is heard in the distance. 
The fairies shudder and creep together.} 



72 SHERWOOD 

TITANIA 

Hark, what is that? 

OBEEON 

The cry of the poor, the cry of the oppressed. 

The sound of women weeping for their children. 

The victims of the forest laws. The moan 

Of that dark world where mortals live and die 

Sweeps like an icy wind thro' fairyland. 

[And oh, it may grow bitterer yet, that sound! 

'Twas Merlin's darkest prophecy that earth 

Should all be wrapped in smoke and fire, the woods 

Hewn down, the flowers discoloured and the sun 

Begrimed, until the rows of lifeless trees 

Against the greasy sunset seemed no more 

Than sooty smudges of an ogre's thumbs 

Upon the sweating forehead of a slave. 

While, all night long, fed with the souls of men. 

And bodies, too, great forges blast and burn 

Till the great ogre's cauldrons brim with gold.] 

[The tvailing sound is heard again in the distance.'] 

SHADOW-OF-A-LEAF 

To be shut out for ever, only to hear 
Those cries! I am only Shadow-of-a-Leaf, the fool, 
I cannot face it ! Is there no hope but this ? 
No hope for Robin and Maid Marian? 

OBERON 

If the great King comes home from the Crusade 
In time ! If not, — there is another King 
Beyond the world, they say. 

SHADOW-OF-A-LEAF 

Death, that dark death! 
To leave the sunlight and the flowers for ever! 
I cannot bear it! Oh, I cannot tell them. 



SHERWOOD 73 

I'll wait — perhaps the great King will come home, 
If not — Oh, hark, a wandering minstrel's voice ? 

OBERON 

Who is drawing hither? Listen, fairies, listen! 
[Song heard approaching thro* the wood.l 

Knight on the narrow way. 

Where wouldst thou ride? 
" Onward," I heard him say, 

" Love, to thy side ! " 

"Nay," sang a bird above; 

" Stay, for I see 
Death in the mask of love. 

Waiting for thee." 

[The song hrealcs off. Enter a Minstrel, leading a great 
white steed. He pauses, confronted by the fairy 
host. The moonlight dazzles him.] 

SHADOW-OF-A-LEAF 

Minstrel, art thou, too, free of fairyland? 
Where wouldst thou ride? What is thy name? 



MINSTREL 

Is Blondel. 

SHADOW-OF-A-LEAF 

Blondel ! 



My name 



THE FAIRIES 

Blondel ! 

MINSTREL 

And I ride 
Through all the world to seek and find my King! 



U SHERWOOD 

[He passes through the fairy host and goes inio the woods 
on the further side of the glade, continuing his 
song, which dies away in the distance.'] 

[Song.] 

"Death? What is death?" he cried. 

" I must ride on, 
On to my true love's side. 

Up to her throne ! " 

[Curtain.] 



ACT III 



ACT III 

Scene I. May-day. An open place {near Nottingham). 
A crowd of rustics and townsfolk assembling to see 
the execution of Will Scarlet. 

FIRST RUSTIC 

A sad may-day ! Where yonder gallows glowers. 
We should have raised the may-pole. 

SECOND RUSTIC 

Ay, no songs, 
No kisses in the ring, no country dances 
To-day; [no lads and lasses on the green. 
Crowning their queen of may.] 

[Enter Eobin Hood, disguised as an old beggar, with a 
green patch on one eye.'] 

ROBIN 

Is this the place. 
Masters, where they're a-goin' to hang Will Scarlet? 

FIRST RUSTIC 

Ay, father, more's the pity. 

ROBIN 

Eh ! Don't ye think 
There may be scuffling, masters? [There's a many ' 
That seems to like him well, here, roundabouts. 

SECOND RUSTIC 

Too many halberts round him. There's no chance. 

77 



78 SHERWOOD 

ROBIN 

I've heard the forest might break out, the lads 
In Lincoln green, you wot of ! If they did ?] 

FIEST RUSTIC 

There's many here would swing a cudgel and help 
To trip the Sheriff up. If Robin Hood 
Were only here! But then he's outlawed now. 

[second rustic 

Ay, and there's big rewards out. It would be 
Sure death for him to try a rescue now. 
The biggest patch of Lincoln Green we'll see 
This day, is that same patch on thy old eye, 
Eh, lads!3 

THIRD rustic 

What's more, they say Prince John is out 
This very day, scouring thro' Sherwood forest 
In quest of Lady Marian! 



ROBIN 

[Sharply.'] 



You heard that ? 



THIRD RUSTIC 

Ay, for they say she's flown to Sherwood forest. 

SECOND RUSTIC 

[Ah ! Ah ? That's why he went. J I saw Prince John ! 
With these same eyes I saw him riding out 
To Sherwood, not an hour ago. 



ROBIN 

You saw him? 



SHERWOOD 79 

SECOND RUSTIC 

Ay, and he only took three men at arms. 

FIRST RUSTIC 

Three men at arms ! Why then, he must ha' known 
That Eobin's men would all be busy here ! 
[He's none so bold, he would not risk his skin!] 
I think there'll be some scuffling after all. 

ROBIN 

Ay, tell 'em so — go, spread it thro' the crowd ! 

[He mutters to himself.'] 
[He'd take some time, to find her, but 'fore God 
We must be quick; 'fore God we must be quick! 

SECOND RUSTIC 

AVhy, father, one would never think to see thee 
Thou had'st so sound a heart!] 

FIRST RUSTIC 

Ah, here they come! 
The Sheriff and his men; and, in the midst^ 
There's poor Will Scarlet bound. 

THE CROWD MURMURS 

Ah, here they come! 
Look at the halberts shining! Can you see him? 

FIRST RUSTIC 

There, there he is. His face is white : but. Lord, 
He takes it bravely. 

SECOND RUSTIC 

He's a brave man, Will. 

SHERIFF 

Back with the crowd there, guards; delay no time! 



80 SHERWOOD 

[some women in the crowd 
Ah, ah, poor lad!] 

ROBIN 

[Eagerly.] 

What are they doing now ? 
I cannot eee! 

[first rustic 
The Sheriff's angered now! 

SECOND rustic 

Ay, for they say a messenger has come 

From that same godless hangman whose lean neck 

I'd like to twist, saying he is delayed. 

'Tis the first godly deed he has ever done.J 

THIRD RUSTIC 

The Sheriff says he will not be delayed. 
But who will take the hangman's office? 

ROBIN 

Masters, 
I have a thought ; make way ; let me bespeak 
The Sheriff! 

rustics 

How now, father, what's to do? 

ROBIN 

Make way, I tell you. Here's the man they want! 

sheriff 
What's this? 

ROBIN 

Good master Sheriff, I've a grudge 
Against Will Scarlet. Let me have the task 
Of sending him to heaven! 



SHERWOOD 81 

[crowd 

Ah-h-h, the old devil IJ 

SHERIFF 

Come on, then, and be brief ! 

ROBIN 

I'm not a hangman ; 
But I can cleave your thinnest hazel wand 
At sixty yards. 

SHERIFF 

Shoot, then, and make an end. 
Make way there, clear the way! 

[An opening is made in the crowd. Robin stands in the 
gap. Will Scarlet is not seen hy the audience,'] 

[crowd 

Ah-h-h, the old devil IJ 

robin 

I'll shoot him one on either side, just graze him, 

To show you how I love him; then the third 

Slick in his heart. 

[He shoots. A murmur goes up from the crowd. The 
crowd hides Will Scarlet during the shooting. 
But EoBiN remains in full view, in the opening.'] 

SHERIFF 

[Angrily.] 
Take care ! You've cut the cord 
That bound him on that side ! 

ROBIN 

Then here's the second! 
I will be careful! 

[He takes a steady aim.] 



82 SHERWOOD 

A RUSTIC TO HIS NEIGHBOURS 

I' faith, lads, he can shoot ! 
[What do you think — that green patch on his eye 
Smacks of the merry men ! He's tricking them !] 
[EoBiN shoots. A louder murmur goes up from the 
crowd.'] 

SHERIFF 

You have cut the rope again ! 

A CRY 

He has cut him free ! 

ROBIN 

All right ! All right ! It's just to tease the dog ! 
Here's for the third now! 

[He aims and shoots quickly. There is a loud cry of a 
wounded man; then a shout from the crowd.] 

CROWD 

Ah-h-h, he has missed; he has killed 
One of the guards! 

FIRST RUSTIC 

What has he done? 



He has killed 



SECOND RUSTIC 

One of the Sheriff's men ! 

SHERIFF 

There's treachery here ! 
I'll cleave the first man's heart that moves ! 

ROBIN 

Will Scarlet, 
Pick up that dead man's halbert! 



SHERWOOD 83 

SHERIFF 

Treachery ! Help ! 
Down with the villain ! 

ROBIN" 

[Throws off his beggar's crouch and hurls the Sheriff 
and several of his men hack amongst the crowd. His 
cloak drops off.] 

Sherwood! A merry Sherwood! 

RUSTICS 

All! ha! The Lincoln Green! A Eobin Hood! 

[A bugle rings out and immediately some of the yokels 
throw off their disguise and the Lincoln green ap- 
pears as by magic amongst the crowd. The guards 
are rushed and hustled by them. Eobin and several 
of his men make a ring round Will Scarlet.] 

SHERIFF 

It is the outlawed Earl of Huntingdon: 

There is a great reward upon his head. 

Down with him! 

[The Sheriff's men make a rush at the little band. A 
Knight in jet black armour, ivith a red-cross shield, 
suddenly appears and forces his way through the 
mob, sword in hand.] 

KNTIGHT 

7 What, so many against so few! 
Back, you wild wolves. Now, foresters, follow me, 
For our St. George and merry England, charge. 
Charge them, my lads! 

[The Foresters make a rush with him and the Sheriff 
and his men take to flight.] 



84 SHERWOOD 

ROBIN 

Now back to Sherwood, swiftly ! 
A horse, or I shall come too late ; a horse ! 
[He sees the Knight in armour standing by his horse.'] 
Your pardon, sir ; our debt to you is great, 
Too great almost for thanks; but if you be 
Bound by the vows of chivalry, I pray you 
Lend me your charger; and my men will bring you 
To my poor home in Sherwood. There you'll find 
A most abundant gratitude. 



KNIGHT 

Your name? 

ROBIN 

Was Huntingdon ; but now is Eobin Hood. 



KNIGHT 

If I refuse? 



ROBIN 

Then, sir, I must perforce 
Take it. I am an outlaw, but the law 
Of manhood still constrains me — 'tis a matter 
Of life and death — 



KNIGHT 

Take it and God be with you ! 
I'll follow you to Sherwood with your men. 
[Robin seizes the horse, leaps to the saddle, and gallops 
away.] 

HCurtain.] 



SHERWOOD 85 

Scene II. Shertvood Forest, Outside the cave.'J 
Jenny, Marian and Widow Scarlet. 



MARIAN 

This dreadful waiting ! [How I wish that Eobin 
Had listened to the rest and stayed with me. 
How still the woods are!] Jenny, do you think 
There will be fighting? Oh, I am selfish, mother; 
You need not be afraid. Eobin will bring 
Will Scarlet safely back to Sherwood. A\Tiy, 
Perhaps they are all returning even now! 
[Cheer up ! How long d'you think they've been away, 
Jenny, six hours or more ? The sun is high, 
And all the dew is gone.J 

JENNY 

[Nay, scarce three hours.] 
Now don't you keep a-fretting. They'll be back, 
Quite soon enough. [I've scarcely spoke with you. 
This last three days and more; and even now 
It seems I cannot get you to myself. 
Two's quite enough.] 

[To Widow Scarlet.J 

Come, widow, come with me. 
I'll give you my own corner in the hut 
And make you cosy. If you take a nap 
Will Scarlet will be here betimes you wake. 

[Takes her to the hut and shuts her in,'] 
[There, drat her, for a mumping mumble-crust I 

MARIAN 

Come, Jenny, that's too bad ; the poor old dame 
Is lonely.] 



86 SHERWOOD 

JENNY 

[She's not lonely when she sleeps, 
x\nd if I never get you to myself 
Where was the good of trapesing after you 
And living here in Sherwood like wild rabbits?] 
You ha'nt so much as let me comb your hair 
This last three days and more. 

MARIAN 

Well, comb it, Jenny, 
Now, if you like, and comb it all day long; 
[But don't get crabbed, and don't speak so crossly !] 
[Jenny begins loosening Marian's hair and combing it.'\ 

JENNY 

Why, Mistress, it grows longer every day. 
[It's far below your knees, and how it shines ! 
And wavy, just like Much the Miller's brook, 
Where it comes tumbling out into the sun, 
Like gold, red gold.] 

MARIAN 

Ah, that's provoking, Jenny, 
For you forgot to bring me my steel glass, 
[And, if you chatter so, I shall soon want it.] 

JENNY 

I've found a very goou one at a pinch. 

There's a smooth silver pool, down in the stream, 

Wh^re you can see your face most beautiful. 

MARIAN 

So that's how Jenny spends her lonely hours, 
A sad female Narcissus, while poor Much 
Dwines to an Echo ! 



SHERWOOD 87 



JENNY 



I don't like those gods. 
I never cared for them. But, as for Much, 
Much is the best of all the merry men. 
And, mistress, 0, he speaks so beautifully, 
It might be just an Echo from blue hills 
Far, far away! [You see he's quite a scholar: 
Much, more an' most (That's what he calls the three 
Greasy caparisons — much, more an' most) ! 
You see they thought that being so very small 
They could not make him grow to be a man, 
They'd make a scholar of him instead. The Friar 
Taught him his letters. He can write his name. 
And mine, and yours, just like a missal book. 
In lovely colours; and he alw^ays draws 
The first big letter of Jenny like a tree 
With naked Cupids hiding in the branches. 
Mistress, I don't believe you hear one word 
I ever speak to you! Your eyes pre always 
That far and far away. 

MARIAN 

I'm listening, Jenny! 

JENNY 

Well, when he draws the first big M of yours. 
He makes it like a bridge from earth to heaven. 
With white-winged angels passing up and down; 
And, underneath the bridge, in a black stream. 
He puts the drowning face of the bad Prince 
Holding his wicked hands out, while a devil 
Stands on the bank and with a pointed stake 
Keeps him from landing — J 

Ah, what's that? What's that? 



MARIAN 

Jenny, how you startled me! 



88 SHERWOOD 

JENNY 

I thought 
I saw that same face peering thro' the ferns 
Yonder — there — see, they are shaking still. 
[She screams.] 

Ah! Ah! 
[Prince John and another man appear advancing across 
the glade.] 

JOHN 

So here's my dainty tigress in her den, 
[And — Warman — there's a pretty scrap for you 
Beside her.J Now, sweet mistress, will you deign 
To come with me, to change these cheerless woods 
For something queenlier? [If I be not mistaken, 
You have had time to tire of that dark cave. 
Was I not right, now? Surely you can see 
Those tresses were not meant to waste their gold 
Upon this desert. Nay, but Marian, hear me. 
I do not jest.] 

[At a sign from Marian, Jenny goes quickly inside the 
cave.] 

That's well! Dismiss your maid! 
Warman, remove a little. 

[His man retires.] 

I see you think 
A little better of me! Out in the wood 
There waits a palfrey for you, and the stirrup 
Longs, [as I long,] to clasp your dainty foot. 
[I am very sure by this you must be tired 
Of outlawry, a lovely maid like you.] 
[He draws nearer.] 



MARIAN 

Wait — I must think, must think. 



SHERWOOD 89 

JOHN 

Give me your hand! 
Why do you shrink from me? [If you could know 
The fire that burns me night and day, you would not 
Eefuse to let me snatch one cooling kiss 
From that white hand of yours.J 

MARIAN 

If you be prince, 
You will respect my loneliness and go. 

JOHN 

How can I leave you, when by day and night 

I see that face of yours. 

[I'll not pretend 

I do not love you, do not long for you. 

Desire and hunger for your kiss, your touch! 

I'll not pretend to be a saint, you see ! 

I hunger and thirst for you. Marian, Marian. 

MARIAN 

You are mad ! 

JOHN 

Ay, mad for you. 
Body and soul 

I am broken up with love for you. Your eyes 
Flash like the eyes of a tigress, and I love them 
The better for it. 
Ah, do not shrink from me ! J 

[Jenny comes out of the cave and hands Marian a how. 
She leaps hack and aims it at John.] 

MARIAN 

Back, you wild beast, or by the heaven above us, 
I'll kill you ! Now, don't doubt me. I can shoot 
Truly as any forester. I swear. 
Prince or no prince, king or no king, I'll kill you 
If you should stir one step from where you stand. 



90 SHERWOOD 

JOHN 

Come, come, sweet Marian, put that weapon down. 
I was beside myself, was carried away. 
I cannot help my love for — 

MARIAN 

I'll not hear 
Another sickening word: throw down your arms. 
That dagger at your side. 

JOHN 

Oh, that's too foolish, 
Marian, I swear — 

[marian 

You see that rusty stain 
Upon the silver birch down yonder? Watch. 

[She shoots. Then swiftly aims at him again.^ 
Now, throw your weapon down.] 

[He pulls out the dagger and throws it down, with a shrug 
of his shoulders. One of his men steals up behind 
Marian.] 

JENNY 

Ah, Mistress Marian, 
There's one behind you ! Look ! 
\_The man springs forward and seizes Marian's arms.'] 

JOHN 

[Coming forward and taking hold of her also.'] 

So, my sweet tigress. 
You're trapped then, are you ? Well, we'll waste no time ! 
We'll talk this over when we reach the castle. 
Keep off the maid, there, Warman; I can manage 
This turbulent beauty. [Ah, byv God, you shall 
Come! Ah? God's blood, what's this?] 
[Marian has succeeded in drawing her dagger and slightly 
wounding him. She wrests herself free.] 



SHERWOOD 91 

MARIAN 

Keep back, I warn you ! 

JOHN 

[Advancing slowly,'] 
Strike, now strike if you will. You will not like 
To see the red blood spurting up your hand. 
That's not maid's work. Come, strike ! 
[EoBiN Hood appears at the edge of the glade behind him.'] 

You see, you cannot! 
Your heart is tenderer than you think. 

ROBIN 

[Quietly.] 

Prince John! 

JOHN 

[Turns round and confronts Robin.] 
Out with your blade, Warman ; call up the rest ! 
[We can strike freely now, without a fear 
Of marring the sweet beauty of the spoil.J 
We four can surely make an end of him. 
Have at him, lads, and swiftly, or the thieves 
Will all be down on us. 
[Robin draws his sword and sets his hack to an oak. The 

other two followers of Prince John come out of 

the wood.] 

ROBIN 

Come on, all four! 
This oak will shift its roots before I budge 
One inch from four such howling wolves. Come on; 
[You must be tired of fighting women-folk. 
Come on ! By God, sir, you must guard your head 
Better than that,J 

[He disarms Warman.] 

[Or you're just food for worms 
Already; come, you dogs!] 



SHERWOOD 

JOHN 



Work round, [you three,J 
Behind him ! [Drive him out from that damned oak !] 



ROBIN 

Oh, that's a princel}^ speech! Have at you, sir! 

[He strikes Prince John's siuord out of his hand and turns 
suddenly to confront the others. John picks up a 
dagger and makes as if to stab Eobin in the hack. 
At the same instant, bugles are heard in the dis- 
tance. The red-cross knight flashes between the 
trees and seizing John's arm in his gauntleted 
hand, disarms him, then turns to help Eobin.] 



knight 

What, four on one! Down with your blades, you curs, 

Or, by Mahound ! — 

[The three men take to flight. John stands staring at 
the newcomer. The Foresters appear, surround- 
ing the glade.] 



JOHN 

[Muttering.'] 
What? Thou? Thou? Or his ghost? 
"No — no — it cannot be. 



ROBIN 

Let them yelp home, 
[The pitiful jackals.] They have left behind 
The prime offender. Ha, there, my merry lads. 
All's well; but take this villain into the cave 
And guard him there. 

[The Foresters lead Prince John into the cave.} 



SHERWOOD 93 

JOHN 

[To the Foresters.] 

Answer me one thing; who 
Is yonder red-cross knight? 

A FORESTER 

No friend of thine. 
Whoe'er he be ! 

KNIGHT 

[To Robin.] 
I need not ask his name. 
I grieve to know it ! 

ROBIN 

Sir, I am much beholden 
To your good chivalry. What thanks is mine 
To give, is all your own. 

KNIGHT 

Then I ask this ! 
Give me that prisoner! I think his life is mine. 

ROBIN 

You saved my own, and more, you saved much more 
Than my poor life is worth. But, sir, think well ! 
This man is dangerous, not to me alone, 
But to the King of England; for he'll yet 
Usurp the throne ! Think well ! 

KNIGHT 

I ask no more. 
I have more reasons than you know. 

ROBIN 

So be it. 
Ho! Bring the prisoner back! 



94 SHERWOOD 

[The FoRE&TERS hring Prince John haclc. He stares at 
the Knight as if in fear.] 

Sir, you shall judge him. 
This prisoner is your own. 

KNIGHT 

Then — let him go! 

FORESTERS 

What! Set him free? 

ROBIN 

Obey! 
[They release Prince John.] 

KNIGHT 

Out of my sight; 
Go! 

PRINCE JOHN 

What man is this ? 

KNIGHT 

iQuickly, get thee gone! 
[Prince John goes out, shalcen and white.] 

ROBIN 

We'll think no more of him ! It is our rule 
That whomsoever we meet in merry greenwood 
Should dine with us. Will you not be our guest? 

KNIGHT 

That's a most happy thought ! I have not heard 
A merrier word than dinner all this day. 
I am well-nigh starved. 



SHERWOOD 95 

ROBIN 

Will you not raise your visor 
And let us know to whose good kniglitly hand 
We are so beholden ? 

KNIGHT 

Sir, you will pardon me, 
If, for a little, I remain unknown. 
But, tell me, are you not that Eobin Hood 
Who breaks the forest laws ? 

ROBIN 

That is my name. 
[We hold this earth as naturally our own 
As the glad common air we breathe. We think 
No man, no king, can so usurp the world 
As not to give us room to live free lives,] 
But, if you shrink from eating the King's deer — 

KNIGHT 

Shrink ? Ha ! ha ! ha ! I count it as my own ! 

[The Foresters appear, preparing the dinner on a table 
[0/ green turfs^'J beneath a spreading oak. 
Marian and Jenny appear at the door of the 
hut. Jenny goes across to help at the prepara- 
tions for dinner. ~\ 

robin 

Ah, there's my Lady Marian ! Will you not come 
And speak with her? 

[He and the Knight go and talk to Marian in the back- 
ground.] 

LITTLE JOHN 

[At the table.] 
The trenchers all are set; 
[Manchets of wheat, cream, curds and honey-cakes, 



96 SHERWOOD 

Venison pasties, roasted pigeons !] Much, 
Eun to the cave; we'll broach our rarest wine 
To-day. [Old Much is waiting for thee there 
To help him. He is growKng roundly, too, 
At thy delay. 

MUCH 

[Going towards the cave.'] 
Ah me, my poor old father ! 

JENNY 

I've dressed the salt and strawed the dining hall 
With flowers.] 

[Enter Friar Tuck with several more Foresters and 
Will Scarlet.] 

ROBIN 

Ah, good Will Scarlet, here at last ! 

[friae tuck 

We should ha' been here sooner; but these others 
Borrowed a farmer's market cart and galloped 
Ahead of us! 

robin] 

Thy mother is in the hut, 
Sheer broken down with hope and fearfulness. 
Waiting and trembling for thee, Will. Go in. 
Put thy big arm around her. 

[Will Scarlet goes into the hut with a cry.} 

scarlet 

Mother ! 

friar tuck 

You see, 
My sons, you couldn't expect the lad to run ! 
[There is a certain looseness in the limbs. 



SHERWOOD 97 

A quaking of the flesh that overcomes 
The bravest who has felt a hangman's rope 
Cuddling his neck.J 

ROBIN 

You judge him by the rope 
That cuddles your slim waist! Oh, you sweet armful, 
Sit down and pant! I warrant you were glad 
To bear him company. 

FRIAR TUCK 

I'll not deny it! 
I am a man of solids. Like the Church, 
I am founded on a rock. 

[He sits down.'] 

ROBIN 

Solids, i' faith ! 
Sir, it is true he is partly based on beef; 
He grapples with it squarely; but fluids, too. 
Have played their part in that cathedral choir 
He calls his throat. [One godless virtue, sir. 
They seem to have given him. Never a nightingale 
Gurgles jug! jug! in mellower tones than he 
When jugs are flowing. Never a thrush can pipe 
Sweet, sweet, so rarely as, when a pipe of wine 
Summers his throttle, we'll make him sing to us 
One of his heathen ditties — The Malmsey Butt, 
Or Down the Merry Red Lane!'\ 

FRIAR TUCK 

Oh, ay, you laugh. 
But, though I cannot run, when I am rested 
I'll challenge you, Robin, to a game of buffets, 
[One fair, square, stand-up, stand-still, knock-down blow 
Apiece; you'll need no more.] If you not kiss 



98 SHERWOOD 

The turf, at my first clout, I will forego 
Malmsey for ever ! 

ROBIN 

Friar, I recant; 
You're champion there. Fists of a common size 
I will encounter ; but not whirling hams 
Like thine ! 

FRIAR TUCK 

I knew it! 

JENNY 

\_Approaching.'] 

Please you, sirs, all is ready ! 

FRIAR TUCK 

Ah, Jenny, Jenny, Jenny, that's good news ! 

[Will Scarlet comes out of the hut with his arm round 
his mother. They all sit down at the table of 
turfs. Enter Shadow-of-a-Leaf timidly.} 

SHADOW-OF-A-LEAF 

Is there a place for me? 

A FORESTER 

Ay, come along! 

FRIAR TUCK 

]^ow, Eobin, don't forget the grace, my son. 

ROBIN 

[Standing up.'] 
It is our custom, sir, since our repast 
Is borrowed from the King, to drain one cup 
To him, and his return from the Crusade, 
Before we dine. [That same wine-bibbing friar 



SHERWOOD 99 

Calls it our ' grace ' ; and constitutes himself 
Eemembrancer — without a cause, for never 
Have we forgotten, never while bugles ring 
Thro' Sherwood, shall forget] — Outlaws, the King ! 
[All stand up except the Knight.] 

CRIES 

The King and his return from the Crusade ! 

[They drink and resume their seats.l 

ROBIN 

You did not drink the health, sir Knight. I hope 
You hold with Lion-Heart. 

KNIGHT 

Yes; I hold with him. 
You were too quick for me. I had not drawn 
These gauntlets off. 

But tell me, Lady Marian, 
When is your bridal day with Eobin Hood? 

MARIAN 

We shall be wedded when the King comes home 
From the Crusade. 

KNIGHT 

Ah, when the King comes home ! 
That's music — all the birds of April sing 
In those four words for me — the King comes home. 

MARIAN 

I am glad you love him, sir. 

ROBIN 

But you're not eating ! 
Your helmet's locked and barred. Will you not raise 
Your visor? 



100 SHERWOOD 

KNIGHT 

[Laughs.'] 
Ha ! ha ! ha ! You see I am trapped ! 
I did not wish to raise it ! Hunger and thirst 
Break down all masks and all disguises, Eobin. 
[He rises and removes his helmet , revealing the face of 

ElCHARD CgEUR DE LiON.] 
ROBIN 

The King! 

[They all leap to their feet.] 

OUTLAWS 

The King! The Eang! 

ROBIN 

But oh, my liege, 
I should have known, when we were hard beset 
Around Will Scarlet by their swarming bands. 
And when you rode out of the Eastern sky 
And hurled our foemen down, I should have known 
It was the King come home from the Crusade ! 
And when I was beset here in the wood 
By treacherous hands again, I should have known 
Whose armour suddenly burned between the leaves ! 
I should have known, either it was St. George 
Or else the King come home from the Crusade ! 

RICHARD 

Indeed there is one thing that might have told you, 
Eobin — a lover's instinct, since it seems 
So much for you and Marian depends 
On my return. 

SHADOW-OF-A-LEAF 

Sire, you will pardon me. 
For I am only a fool, and yet metliinks 



SHERWOOD 101 

You know not half the meaning of those words — 
The King, the King comes home from the Crusade ! 
Thrust up your swords, heft uppermost, my lads, 
And shout — the King comes home from the Crusade. 
[He leaps on a seat, and thriists up the King's sword, heft 
uppermost, as if it were a cross.} 

ROBIN 

Pardon him, sire, poor Shadow-of-a-Leaf has lost 

His wits ! 

SHADOW-OF-A-LEAF 

That's what Titania said you'd say, 
Poor sweet bells out of tune ! But oh, don't leave. 
Don't leave the forest! There's darker things to come! 
Don't leave the forest ! [I have wits enough at least 
To wrap my legs around my neck for warmth 
On winter nights. 

RICHARD 

Well, you've no need to pass 
The winter in these woods — 

SHADOW-OF-A-LEAF 

Oh, not that winter!] 

ROBIN 

Shadow-of-a-Leaf , be silent ! 

[Shadow-of-a-Leaf goes aside and throws himself down 
sobbing among the ferns.'] 

RICHARD 

[When even your cave 
Methinks can scarce be cheery.] Huntingdon, 
Your earldom we restore to you this day! 
You and my Lady Marian shall return 
To Court with us, where your true bridal troth 



102 SHERWOOD 

Shall be fulfilled with golden marriage bells. 
Now, friends, the venison pasty ! [We must hear 
The Malmsey Butt and Down the Merry Red Lane.l 
Ere we set out, at dawn, for London Town. 

ROBIN 

Alan-a-Dale shall touch a golden string 
To speed our feast, sire [for he soars above 
The gross needs of the Churchman ! J 

RICHARD 

Alan-a-Dale ? 

WILL SCARLET 

Our greenwood minstrel, sire ! His harp is ours 
Because we won his bride for him. 

RICHARD 

His bride? 

REYNOLD GREENLEAF 

Was to be wedded, sire, against her will 
Last May, to a rich old baron. 

RICHARD 

[Pigeon-pie — 
And Malmsey — yes] — a rich old baron — tell ! 

ROBIN 

Sire, on the wedding day, my merry men 
Crowded the aisles with uninvited guests; 
And, as the old man drew forth the golden ring, 
[They threw aside their cloaks with one great shout 
Of ' Sherwood ' ; and, for all its crimson panes,] 
The church was one wild sea of Lincoln green ! 
The Forest had broken in, sire, and the bride 
Like a wild rose tossing on those green boughs, 



SHERWOOD 103 



"Was borne away and wedded here by Tuck 
To her true lover ; and so — his harp is ours. 



ALAN-A-DALE 

No feasting song, sire, but the royal theme 
Of chivalry — a song I made last night 
In yonder ruined chapel. It is called 
The Old Knight's Vigil, 

RICHARD 

Our hearts will keep it young ! 
[Alan-a-Dale sings, Shadow-of-a-Leaf raises his head 
among the ferns.'] 



^ISong,'] 



Once, in this chapel, Lord, 

Young and undaunted, 
Over my virgin sword 

Lightly I chaunted, — 
" Dawn ends my watch. I go 
Shining to meet the foe ! ^' 

II 

" Swift with thy dawn," I said, 

" Set the lists ringing ! 
Soon shall thy foe be sped. 

And the world singing! 
Bless my bright plume for me, 
Christ, King of Chivalry." 

[Shadow-of-a-Leaf rises to his Jcnees amongst the ferns.] 



104 SHERWOOD 

III 

" War-worn I kneel to-night, 
Lord, by Thine altar ! 

Oh, in to-morrow's fight, 
Let me not falter ! 

Bless my dark arms for me, 

Christ, King of Chivalry. 

IV 

"Keep Thou my broken sword 
All the long night through 

While I keep watch and ward ! 
Then — the red fight through, 

Bless the wrenched haft for me, 

Christ, King of Chivalry. 



" Keep, in thy pierced hands. 

Still the bruised helmet : 
Let not their hostile bands 

Wholly overwhelm it ! 
Bless my poor shield for me, 
Christ, King of Chivalry. 

VI 

" Keep Thou the sullied mail. 

Lord, that I tender 
Here, at Thine altar-rail ! 

Then — let Thy splendour 
Touch it once . . . and I go 
Stainless to meet the foe/' 

[Shadow-of-a-Leap rises to his feet and takes a step 
towards the minstrel.'] 

[Curtain.'] 



ACT IV 



ACT IV 

Scene I. Garden of the King's Palace. Enter John 
and Elinor. 

ELINOR 

You will be king the sooner ! Not a month 
In England, and my good son Lion-Heart 
Must wander over-seas again. [These two, 
Huntingdon and his bride, must bless the star 
Of errant knighthood.J 

JOHN 

He stayed just long enough 
To let them pass one fearless honeymoon 
In the broad sunlight of his royal favour, 
Then, like a meteor off goes great King Eichard, 
And leaves them but the shadow of his name 
To shelter them from my revenge. [They know it! 
I have seen her shiver like a startled fawn 
And draw him closer, damn him, as I passed.] 

ELINOR 

They would have flitted to the woods again 
But for my Lord Fitzwalter. 

JOHN 

That old fool 
Has wits enough to know I shall be king, 
[And for his land's sake cheats himself to play 
Sir Pandarus of Troy. " 'Tis wrong, dear daughter, 
To think such evil."] Pah, he makes me sick ! 

107 



108 SHERWOOD 

ELINOR 

Better to laugh. He is useful. 

JOHN 

If I were king! 
If Richard were to perish over-seas! 

rd — 

ELINOR 

You'd be king the sooner. [Never fear : 
These wandering meteors flash into their graves 
Like lightning, and no thunder follows them 
To warn their foolish henchmen.] 

JOHN 

[Loohing at her searcliingly J] 

Shall I risk 
The Eling's return ? 

ELINOR 

What do you mean? 



JOHN 



I mean 



[I cannot wait and watch this Robin Hood 

Dangle the fruit of Tantalus before me, 

Then eat it in my sight !] I have borne enough ! 

He gave me like a fairing to my brother 

In Sherwood Forest ; and I now must watch him, 

A happy bridegroom with the happy bride, 

[Whose lips I meant for mine.] 



I love to see it ? 



ELINOR 

And do you think 



SHERWOOD 109 



JOHN 



Had it not been for you 
He would have died ere this ! 

ELINOR 

Then let him die ! 

JOHN 

Oh, ay, but do you mean it, mother? 

ELINOR 

Gk)d, 

I hate him, hate him ! 

JOHN 

Mother, he goes at noon 
To Sherwood Forest, with a bag of gold 
For some of his old followers. If, by chance 
He [fall — how saith the Scripture ? — among thieves 
And] vanish — is not heard of any more, 
I think Suspicion scarce could lift her head 
Among these roses here to hiss at me. 
When Lion-Heart returns. 

ELINOR 

Vanish ? 

JOHN 

I would not 
Kill him too quickly. I would have him taken 
To a dungeon that I know. 

ELINOR 

You have laid your trap 
Already ? Tell me. You need not be afraid ! 
[I saw them kiss, in the garden, yesternight; 
And I have wondered, ever since, if fire 



110 SHERWOOD 

Could make a brand quite hot enough to stamp 
My hate upon him J 

JOHN 

[Well, then, I will tell you — 
The plan is laid; and, if his bag of gold 
Eejoice one serf to-day, then I'll resign 
Maid Marian to his loving arms for ever. 
But you must help me, mother, or she'll suspect. 
Do not let slip your mask of friendliness. 
As I have feared !] Look — there our lovers come 
Beneath that arch of roses. Look, look, mother. 
They are taking leave of one another now, 
A ghastly parting, for he will be gone 
Well nigh four hours, they think. [To look at them, 
One might suppose they knew it was for ever.] 

ELINOR 

Come, or my hate will show itself in my face : 
I must not see them. 

[Exeunt Prince and Elinor. A pause. Enter Eobin 
Hood and Marian.] 

ROBIN 

So, good-bye, once more, 
Sweetheart. 

MARIAN 

Four hours ; how shall I pass the time ? 
Four hours, four ages, you will scarce be home 
By dusk; how shall I pass it? 

ROBIN 

You've to think 
What robe to wear at the great masque to-night 
And then to don it. When you've done all that 
I shall be home again. 



SHERWOOD 111 

[mariax 

What, not before? 

ROBIN 

That's not unlikely, either. 

MARIAN 

Now you mock me. 
But you'll be back before the masque begins. 

ROBIN 

I warrant you I will.J 

MARIAN 

It is a month 
To-day since we were married. Did you know it? 
Fie, I believe you had forgotten, Robin. 

ROBIN 

I had, almost. If marriage make the moons 
Fly, as this month has flown, we shall be old 
And grey in our graves before we know it. 
I wish that we could chain old Father Time. 

MARIAN 

And break his glass into ten thousand pieces. 

ROBIN 

And drown his cruel scythe ten fathom deep, 
Under the bright blue sea whence Love was born : 

[MARIAN 

Ah, but we have not parted all this month 
More than a garden's breadth, an arrow's flight : 
Time will be dead till you come back again. 
Four hours of absence make four centuries ! 
Do you remember how the song goes, Robin, 



112 SHERWOOD 

That bids true lovers not to grieve at parting 
Often? for Nature gently severs them thus, 
Training them up with kind and tender art, 
For the great day when they must part for ever. 

ROBIN 

Do you believe it, Marian? 

MARIAN 

No; for love 
Buried beneath the dust of life and death, 
Would wait for centuries of centuries, 
Ages of ages, until God remembered. 
And, through that perishing cloud-wrack, face looked up 
Once more to loving face. 

ROBIN 

Your hope — and mine ! 
Is not a man's poor memory, indeed, 
A daily resurrection ? Your hope — and mine ! 

MARIAN 

And all the world's at heart ! I do believe it. 

ROBIN 

And I — if only that so many souls 

Like yours have died believing they should meet 

Again, lovers and children, little children ! 

God will not break that trust. I have found my heaven 

Again in you ; and, though I stumble still, 

Your small hand leads me thro' the darkness, up 

And onward, to the heights I dared not see, 

And dare not even now; but my head bows 

Above your face; I see them in your eyes.] 

Love, point me onward still ! 

[He takes her in his arms.'] 

Good-bye ! Good-bye ! 



SHERWOOD 113 

MARIAN 

Come back, come back, before the masque begins ! 

ROBIN 

Ay, or a little later — never fear : 
You'll not so easily lose me. 

MARIAN 

I shall count 
The minutes ! 

ROBIN 

Why, you're trembling ! 



MARIAN 

Yes, I am foolish. 
This is the first small parting we have had; 
But — youTl be back ere dusk ? 



ROBIN 

ILaughing.'] 

Ah, do you think 
That chains of steel could hold me, sweet, from you, 
[With those two heavenly eyes to call me home, 
Those lips to welcome me?J Good-bye! 



MARIAN 

Good-bye ! 
[He goes hurriedly out. She looks after him for a moment , 

then suddenly calls.] 
Eobin ! [Ah, well, no matter now — too late !] 
[She stands looking after him.] 



114 SHERWOOD 

[Scene II. Sherwood Forest: dusk. Outside the cave, 
as in the second act.1 Shadow-of-a-Leaf runs 
quichly across the glade, followed hy Puck. 

PUCK 

Shadow-of-a-Leaf ! Shadow-of-a-Leaf ! Shadow-of-a-Leaf ! 

Don't dance away like that ; don't hop ; don't skip 

Like that, I tell you ! [I'll never do it again, 

I promise. Don't be silly now !] Come here ; 

I want to tell you something. Ah, that's right. 

Come, sit down liere upon this bank of thyme 

[ " While I thine amiable ears " — Oh, no. 

Forgive me, ha ! ha ! ha !] 

SHADOW-OF-A-LEAF 

Now, Master Puck, 
You'll kindly keep your word ! [A foxglove spray 
In the right hand is deadlier than the sword 
That mortals use, and one resounding thwack 
Applied to your slim fairyhood's green limbs 
Will make it painful, painful, very painful, 
Next time your worship wishes to sit down 
Cross-legged upon a mushroom.] 

PUCK 

Ha! ha! ha! 
Poor Shadow-of-a-Leaf ! 

SHADOW-OF-A-LEAF 

You keep your word, that's all! 

PUCK 

Haven't I kept my word? Wasn't it I 
That made you what these poor, dull mortals call 
Crazy? [Who crowned 3^ou with the cap and bells? 
Who made you such a hopeless, glorious fool 
That wise men are afraid of every word 



SHERWOOD 115 

You utter? Wasn't it I that made you free 
Of fairyland — that showed you how to pluck 
Fern-seed hy moonlight, and to walk and talk 
Between the lights, with urchins and with elves? 
Is there another fool twixt earth and heaven 
Like you — ungrateful rogue — answer me that ! J 

SHADOW-OF-A-LEAF 

All true, dear gossip, and for saving me 

From the poor game of blind man's buff men call 

Wisdom, I thank you ; [but to hang and buzz 

Like a mad dragon-fly, now on my nose, 

Xow on my neck, now singing in my ears. 

Is that to make me free of fairyland? 

No — that's enough to make the poor fool mad 

And take to human wisdom. 

PUCK 

Yet you love me. 
Ha ! ha ! — you love me more than all the rest. 
You can't deny it ! You can't deny it ! Ha ! ha ! 

SHADOW-OF-A-LEAF 

I w^on't deny it, gossip. E'en as I think 
There must be something loves us creatures. Puck, 
More than the Churchmen say. We are so teased 
With thorns, bullied with briars, baffled with stars. 
I've lain sometimes and laughed until I cried 
To see the round moon rising o'er these trees 
With that same foolish face of heavenly mirth 
Winking at lovers in the blue-bell glade.J 

PUCK 

[Lovers ! Ha ! ha ! I caught a pair of 'em 
Last night, behind the ruined chapel ! Lovers ! 
Lord, these mortals, they'll be the death of me ! J 
Hist, who comes here ? 



116 SHERWOOD 

SHADOW-OF-A-LEAF 

Scarlet and Little John, 
And all the merry men — not half so merry 
Since Eobin went away. He was to come 
And judge between the rich and poor to-day, 
I think he has forgotten. 

PUCK 

Hist, let me hide 
Behind this hawthorn bush till they are gone. 
[Enter the Foresters — Ithey all go iiito the cave except 

Scarlet and Little John, who stand at the 

entrance, looking anxiously back.'J 

LITTLE JOHN 

I have never known the time when Eobin Hood 
Said " I will surely come," and hath not been 
Punctual as yonder evening star. 

SCARLET 

Pray God 
'No harm hath fallen him. Indeed he said, 
" Count on my coming." 

LITTLE JOHN 

I'll sound yet one more call. 
They say these Courts will spoil a forester. 
It may be he has missed the way. I'd give 
My sword-hand just to hear his jolly bugle 
Answer me. 

\_He blows a forest call. They listen. All is silent.'] 

SCARLET 

Silence — only the sough of leaves! 



SHERWOOD 117 



LITTLE JOHN 



Well, I'm for sleep : the moon is not so bright 
Since Eobin left us. 

SCARLET 

Ha! Shadow-of-a-Leaf, alone? 
I thought I heard thy voice. 

LITTLE JOHN 

[Oh, he will talk 
With ferns and flowers and whisper to the mice!] 
Perfectly happy, art thou not, dear fool? 

SH ADO W-O F- A-LEAF 

Perfectly happy since I lost my wits ! 

SCARLET 

Pray that thou never dost regain them, then, 
Shadow-of-a-Leaf. 

SHADOW-OF-A-LEAF 

I thank you kindly, sir, 
And pray that you may quickly lose your own, 
And so be happy, too. [Robin's away. 
But, if you'd lost your wits, you would not grieve.] 

SCARLET 

Good-night, good fool. 

SHADOW-OF-A-LEAF 

[I will not say " Good-night," 
Wise man, for I am crazed, and so I know 
^Tis good, and yet you'll grieve.] I wish you both 
A bad night that will tease your wits away 
And make you happy. 

[The Outlaws enter the cave. Shadow-of-a-Leaf 
beckons to Puck, who steals out again.'] 



118 SHERWOOD 

PUCK 

Shadow-of-a-Leaf, some change 
Is creeping o'er the forest. [I myself 
Scarce laugh so much since Eobin went away ! 
Oh, my head hangs as heavily as a violet 
Brimmed with the rain.J Shadow-of-a-Leaf, a cloud, 
A whisper steals across this listening wood ! 
I am growing afraid. Dear fool, I am thy Puck, 
But I am growing afraid there comes an end 
To all our Sherwood revels, and I shall never 
Tease thee again. 

SHADOW-OF-A-LEAF 

Here comes the King ! 

[Enter Oberon.] 

Hail, Oberon. 
King of the fairies, I strew ferns before you. 
There are no palms here : ferns do just as well ! 

OBERON 

Shadow-of-a-Leaf, our battles all are wasted; 
Our fairy dreams whereby we strove to warn 
Eobin and Marian, wasted. Shadow-of-a-Leaf, 
Dear Eobin Hood, the lover of the poor. 
And kind Maid Marian, our forest queen, 
Are in the toils at last. 

[He pauses.'] 

SHADOW-OF-A-LEAF 

Speak, speak! 

OBERON 

Prince John 
Hath trapped and taken Eobin. 



SHERWOOD 119 

SHADOW-OF-A-LEAF 

Is not Richard 
King of this England ? Did not Richard [tempt 
Robin, for Marian's sake, to leave the forest? 
Did he not] swear upon the Holy Cross 
That Robin should be Earl of Huntingdon 
And hold his lands in safety ? 

OBERON 

Only fear 
Of Richard held the wicked Prince in leash. 
But Richard roamed abroad again. Prince John 
Would murder Robin secretly. 

SHADOW-OF-A-LEAF 

Wise men 
Fight too much for these holy sepulchres ! 
Are not the living images of God 
Better than empty graves? 

OBERON 

One grave is filled 
Now; for our fairy couriers have brought 
Tidings that Richard lion-Heart is dead. 

SHADOW-OF-A-LEAF 

Dead? 

OBERON 

Dead ! In a few brief hours the news will reach 
The wicked Prince. He will be King of England, 
With Marian in his power ! 

SHADOW-OF-A-LEAF 

No way to save them ! 



120 SHERWOOD 

OBERON 

We cannot break our fairy vows of silence. 

A mortal, Shadow-of-a-Leaf, can break those vows, 

But only on pain of death. 

SHADOW-OF-A-LEAP 

Oberon, I, 
Shadow-of-a-Leaf, the fool, must break my vows ! 
I must save Robin Hood [that he may save 
Marian from worse than death.] 

OBEKON 

Shadow-of-a-Leaf, 
Think what death means to you, never to join 
Our happy sports again, never to see 
The moonlight streaming through these ancient oaks 
Again, never to pass the fairy gates 
Again. We cannot help it. They will close 
Like iron in your face, and you will hear 
Our happy songs within ; but you will lie 
Alone, without, dying, [and never a word 
To comfort you, no hand to touch your brow.] 

SHADOW-OF-A-LEAF 

So be it. I shall see them entering in ! 
The time is brief. Quick, tell me, where is Eobin? 
Quick, or the news that makes Prince John a king 
Will ruin all. 

OBERON" 

Eobin is even now 
Thrust in the great dark tower beyond the wood. 
The topmost cell where foot can never climb. 

SHADOW-OF-A-LEAF 

Cannot an arrow reach it? Ay, be swift; 
Come, lead me thither. 



SHERWOOD 121 

OBERON 

[I cannot disobey 
The word that kills the seed to raise the wheat, 
The word that — ] Shadow-of-a-Leaf, I think I know 
Now, why great kings ride out to the Crusade. 

SHADOW-OF-A-LEAP 

Quickly, come, quickly ! 

^[Exeunt Oberon and Shadow-of-a-Leaf. Puck remains 
staring after them, then vanishes with a soh, he- 
tween the trees. [* Little John and Scarlet 
appear once more at the mouth of the cave.] 

scarlet 

I thought I heard a voice. 

little JOHN" 

^Twas only Shadow-of-a-Leaf again. He talks 
For hours among the ferns, plays with the flowers, 
And whispers to the mice, perfectly happy ! 

scarlet 

I cannot rest for thinking that some harm 
Hath chanced to Eobin. Call him yet once more. 
[Little John Mows his hugle. All is silent. They stand 
listening.} 

Scene III. A gloomy cell. Eobin bound. Prince 
John and two mercenaries. A low narrow door 
in the background, small barred window on the 
left. 

* In acting omit text from this point to beginning of Sc. IV, 
the action of which follows directly after the lighting of the 
torches. 



122 SHERWOOD 

PRINCE JOHN" 

[To the Mercenaries.'] 

Leave us a moment. I have private matters 

To lay before this friend of all the poor. 

You may begin to build the door up now, 

So that you do not wall me in with him. 

[The two men begin filling up tlie doorway with rude hlocJcs 

of masonry.'] 
So now, my good green foot-pad, you are trapped 
At last, trapped in the practice of your trade ! 
Trapped, as you took your stolen Norman gold 
To what was it — a widow, or Saxon serf 
With eye put out for breaking forest laws? 
You hold with them, it seems. Your dainty soul 
Sickens at our gross penalties; and so 
Well not inflict them on your noble self, 
Although we have the power. There's not a soul 
Can ever tell where Eobin Hood is gone. 
These walls will never echo it. 

[He taps the ivall with his sword.] 
And yet 
There surely must be finer ways to torture 
So fine a soul as yours. Was it not you 
Who gave me like a fairing to my brother 
With lofty condescension in your eyes; 
And shall I call my mercenaries in 
And bid them burn your eyes out with hot irons? 
Richard is gone — heTl never hear of it ! 
An Earl tliat plays the robber disappears. 
That's all. Most like he died in some low scuffle 
Out in the greenwood. I am half inclined 
To call for red-hot irons after all, 
So that your sympathy with Saxon churls 
May be more deep, you understand ; and then 
It would be sweet for you, alone and blind. 
To know that you could never in this life 



SHERWOOD 123 

See Marian's face again. But no — that's bad. 
Bad art to put hope's eyes out. It destroys 
Half a man's fear to rob him of his hope. 
No; you shall drink the dregs of it. Hope shall die 
More exquisite a death. Robin, my friend, 
You understand that, when I quit your presence, 
This bare blank cell becomes your living tomb. 
Do you not comprehend ? It's none so hard. 
The doorway will be built up. There will be 
No door, you understand, but just a wall, 
Some six feet thick, of solid masonry. 
Nobody will disturb you, even to bring 
Water or food. You'll starve — see — like a rat, 
Bricked up and buried. But you'll have time to think 
Of how I tread a measure at the masque 
To-night, with Marian, while her wide eyes wonder 
Where Robin is — and old Fitzwalter smiles 
And bids his girl be gracious to the Prince 
For his land's sake. Ah, ha ! you wince at that ! 
Will you not speak a word before I go? 
Speak, damn you ! 

[He strikes Robin across the face tvith his glove. Robin 
remains silent.'] 

Six days hence, if you keep watch 
At yonder window (you'll be hungry then) 
You may catch sight of Marian and Prince John 
Wandering into the gardens down below. 
You will be hungry then; perhaps you'll strive 
To call to us, or stretch a meagre arm 
Through those strong bars; but then you know the height 
Is very great — no voice can reach to the earth : 
This is the topmost cell in my Dark Tower. 
Men look like ants below there. I shall say 
To Marian, See that creature waving there 
High up above us, level with the clouds, 
Is it not like a winter-shrivelled fly? 
And she will laugh; and I will pluck her roses. 



124 SHERWOOD 

And then — and then — there are a hundred ways, 
You know, to touch a woman's blood with thoughts 
Beyond its lawful limits. Ha! ha! ha! 
By God, you almost spoke to me, I think. 
Touches at twilight, whispers in the dark, 
Sweet sympathetic murmurs o'er the loss 
Of her so thoughtless Eobin, do you think 
Maid Marian will be quite so hard to win 
When princes come to woo? There will be none 
To interrupt us then. Time will be mine 
To practise all the amorous arts of Ovid, 
And, at the last — 

ROBIN 

Will you not free my hands ? 
You have your sword. But I would like to fight you 
Here, with my naked hands. I want no more. 

PRINCE JOHN 

Ha ! ha ! At last the sullen speaks. 

That's all 
I wanted. I have struck you in the face. 
Is't not enough ? You can't repay that blow. 

ROBIN 

Bury me down in hell and I'll repay it 
The day you die, across your lying mouth 
That spoke of my true lady, I will repay it. 
Before the face of God ! 

PRINCE JOHN 

[Laughing.'] 

Meanwhile, for me 
Till you repay that blow, there is the mouth 
Of Marian, the sweet honey-making mouth 
That shall forestall your phantom blow with balm. 
Oh, you'll go mad too soon if I delay. 



SHERWOOD 125 

I am glad you spoke. Farewell, the masons wait. 

And I must not be late for Marian. 

[Exit thro' the small aperture now left in the doorway. It 
is rapidly closed and sounds of heavy masonry 
being piled against it are heard. Robin tries to 
free his hands and after an effort, succeeds. He 
hurls himself against the doorway, and finds it 
hopeless. He turns to the window, peers through 
it for a moment, then suddenly unwinds a scarf 
from his neck, ties it to one of the bars and 
stands to one side.] 

ROBIN 

Too high a shot for most of my good bowmen ! 
What's that? A miss? 

[He looks thro' the window. 1 

Good lad, he'll try again ! 
[He stands at tJie side once more and an arrow comes thro' 

the window.] 
Why, that's like magic ! 

[He pulls up the thread attached to it.~\ 

Softly, or 'twill break ! — 
Ah, now 'tis sturdy cord. 

— I'll make it fast. 
But, how to break these bars ! 

St. Nicholas, 
There's someone climbing. He must have a head 
Of iron, and the lightness of a cat ! 
Downward is bad enough, but up is more 
Than mortal ! Who the devil can it be ? 
Thank God, it's growing dark. But what a risk! 
None of my merry men could e'en attempt it. 
I'm very sure it can't be Little John. 
What, Shadow-of-a-Leaf ! 

[Shadow-of-a-Leaf appears at the window.] 

'Fore God, dear faithful fool, 
I am glad to see you. 



126 SHERWOOD 

SH ADO W-O F-A-LEAF 

Softly, gossip, softly. 
Pull up the rope a little until we break 
This bar away — or some kind friend may see 
The dangling end below. Now here's a toothpick, 
Six inches of grey steel, for you to work with, 
And here's another for me. Pick out the mortar ! 

[They work to loosen the hars.'] 
Wait ! Here's a rose I brought you in my cap 
And here's a spray of fern ! Old Nature's keys 
Open all prisons, I'll throw them in for luck, 
[Irlc throws them into the cell and begins working fever^ 

ishly again.^ 
So that the princes of the world may know 
The forest let you out. Down there on earth. 
If any sees me, they will only think 
The creepers are in leaf. Pick out the mortar! 
That's how the greenwood works. You know, 'twill thrust 
Its tendrils through these big grey stones one day 
And pull them down. I noticed in the courtyard 
The grass is creeping through the crevices 
Already, and yellow dandelions crouch 
In all the crumbling corners. Pick it out ! 
This is a very righteous work indeed 
For men in Lincoln green ; for what are we 
But tendrils of old Nature, herald sprays ! 
We scarce anticipate. Pick the mortar out. 
Quick, there's no time to lose, although to-night 
We're in advance of sun and moon and stars 
And all the trickling sands in Time's turned glass. 

[With a sudden cry.] 
Eichard is dead ! 



Is dead! 



ROBIN 

Eichard is dead I The King 



SHERWOOD 127 

SHADOW-OF-A-LEAF 

All, dead ! Come, pick the mortar out, 
Out of the walls of towers and shrines and tombs ! 
For now Prince John is King, and Lady Marian 
In peril, gossip ! Yet we are in advance 
Of sun and moon to-night, for sweet Prince John 
Is not aware yet of his kinglihood, 
Or of his brother's death. 

ROBIN 

[Pausing a moment.'] 

Why, 8hadow-of-a-Leaf, 
What does this mean? 

SHADOW-OF-A-LEAF 

Come, pick the mortar out; 
You have no time to lose. This very night 
My Lady Marian must away to Sherwood. 
At any moment the dread word may come 
That makes John King of England. Quick, be quick! 

ROBIN" 

She is at the masque to-night! 

SHADOW-OF-A-LEAF 

Then you must mask 
And fetcli her thence ! Ah, ha, the bar works loose. 
Pull it! 

[They pull at the bar, get it free, and throw it into the cell.] 
Now, master, follow me down the rope. 
[Exit Robin tJiro' the windoiu.] 

Scene IV. Night."! The garden of the King's palace 
(as before), hut lighted luith torches for the 
masque. Music swells up and dies away con- 
tinually. Maskers pass to and fro between the 



128 SHERWOOD 

palace and the garden. On the broad terrace in 
front some of them are dancing a galliard. 
[Prince John enters and is met hy Queen Elinor^ 
neither of them masked.] 

ELINOR 

All safe? 

PRINCE JOHN 

Ay, buried and bricked up now, to think 
Alone, in the black night, of all I told him. 
Thank God, we have heard the last of Eobin Hood. 



You are sure? 



ELINOR 

[She puts on her mask.'] 

PRINCE JOHN 

I saw him entombed with my own eyes ! 
Six feet of solid masonry. [Look there, 
There's the young knight you've lately made your own.J 
Where is my Lady Marian ? Ah, I see her ! 
With that old hypocrite, Fitzw^alter. 
[They part. Prince John puts on his mask as he goes.] 

A LADY 

But tell me 
Where is Prince John? 

A masker 

That burly-shouldered man 
By yonder pillar, talking with old Fitzwalter, 
And the masked girl, in green, with red-gold hair, 
Is Lady Marian! 

THE LADY 

Where is Eobin Hood? 
I have never seen him, but from all one hears 



SHERWOOD 129 



He is a wood-god and a young Apollo, 
[And a more chaste Actagon all in one. 



MASKER 

Oh, ay, he never watched Diana bathing, 
Or, if he did, all Sherwood winked at it. 
Who knows ? Do you believe a man and maid 
Can sleep out in the woods all night, as these 
Have slept a hundred times, and put to shame 
Our first poor parents; throw the apple aside 
And float out of their leafy Paradise 
Like angels? 

LADY 

No; I fear the forest boughs 
Could tell sad tales. Oh, I imagine it — 
Married to Eobin, by a fat hedge-priest 
Under an altar of hawthorn, with a choir 
Of sparrows, and a spray of cuckoo-spit 
For holy water ! Oh, the modest chime 
Of blue-bells from a fairy belfry, a veil 
Of evening mist, a robe of golden hair ; 
A blade of grass for a ring; a band of thieves 
In Lincoln green to witness the sweet bans ; 
A glow-worm for a nuptial taper, a bed 
Of rose-leaves, and wild thyme and wood-doves' down. 
Quick ! Draw the bridal curtains — three tall ferns - 
Across the cave mouth, lest a star should peep 
And make the wild rose leap into her face ! 
Pish ! A sweet maid ! But where is Eobin Hood ? J 



MASKER 

I know not ; but he'd better have a care 

Of Mistress Marian. If I know Prince John 

He has marked her for his own. 



130 SHERWOOD 

[lady 

What fascinates him. 



I cannot see 



MASKER 

No, you are right, nor I.] 

PRINCE JOHN 

Come, Lady Marian, let me lead you out 
To tread a measure. 

MARIAN 

Pray, sir, pardon me ! 
I am tired. 

riTZW ALTER 

[Whispering angrily to her.'] 
Now, Marian, be not so ungracious. 
[You both abuse him and disparage us. 
His courtiers led the ladies they did choose. 
Do not displease him, girl. I pray you, go ! 
Dance out your galliard. God's dear holy-bread, 
Y'are too forgetful. Dance, or by my troth. 
You'll move my patience. I say you do us wrong.] 

MARIAN 

I will do what you will. [Lead, lead your dance.J 
[Exeunt John and Marian.] 

[first masker 

[To a lady, as they come up from the garden.] 
Will you not let me see your face now, sweet ? 

LADY 

You hurt my lip with that last kiss of yours. 
Hush, do not lean your face so close, I pray you ; 
Loosen my fingers. There's my lord. 



SHERWOOD 131 

FIRST MASKER 

Where ? Where ? 
Now, if I know him, I shall know your name ! 

LADY 

That tall man with the damozel in red. 

FIRST MASKER 

Oh, never fear him. He, too, wore a mask ! 
I saw them — 

[They pass out talking.'] 

SECOND MASKER 

[^Looking after them.'] 
Saw you those two turtle-doves! 

SECOND LADY 

Yes. 

SECOND MASKER 

Come with me, I'll show you where I caught them 
Among the roses, half an hour ago. 
\_They laugh and exeunt into the gardens.'^ The music 

swells up and more dancers appear.] 
[Enter Eobin Hood^ still in his foresters garh, hut wear- 
ing a mash. He walks as if wounded and in pain. 
He sits down in the shadoiv of a pillar watching, 
and partly concealed from the throng.] 

[third lady 

Remember now to say you did not see me 
Here at the masque. 

third masker 

Or shall I say that I 
Was out in Palestine? 

[They pass.'X Enter little Arthur Plantagenet. He 
comes up to Eobin Hood.] 



132 SHERWOOD 

ARTHUR 

Are you not Eobin Hood? 

ROBIN 

Hush, Arthur. Don't you see I wear a mask 
Like all the rest to-night ? 

ARTHUR 

Why do they wear 
Masks? 

ROBIN 

They must always wear some sort of mask 
At court. Sometimes they wear them all their lives. 

ARTHUR 

You are jesting, Robin. Now I wanted you 
To tell me tales of Sherwood. Tell me how 
You saved Will Scarlet. 

ROBIN 

Why, I've told you that 
A score of times. 

ARTHUR 

I know, I want to hear it 
Again. Well, tell me of that afternoon 
When Lion-Heart came home from the Crusade. 
I have often thought of that. It must have been 
Splendid ! You weren't expecting it at all ? 

ROBIN 

No, not at all; but, Arthur, tell me first 
Have you see Lady Marian ? 

[ARTHUR 

Yes, I saw her 
Treading a measure with my Uncle John !] 



SHERWOOD 133 

ROBIN 

Stand where you are and watch ; and, if you see her, 
Beckon her. Then 111 tell you how the King 
Came home from the Crusade. 

ARTHUR 

First, let me tell you 
Just how I think it was. It must have been 
Like a great picture. All your outlaws there 
Sitting around your throne of turf, [and you 
Judging the rich and poor. That's how it was 
Last night, I dreamed of it; and you were taking 
The baron's gold and giving it to the halt 
And blind ; and then there was a great big light 
Between the trees, as if a star had come 
Down to the earth and caught among the boughs, 
With beams like big soft swords amongst the ferns 
And leaves, and through the light a mighty steed 
Stepped, and the King came home from the Crusade. 
Was it like that? Was there a shining light? 

ROBIN 

I think there must have been, a blinding light. 

ARTHUR 

Filling an arch of leaves ?] 

ROBIN 

Yes! 

[ARTHUR 

That was it! 
Thaf s how the King came home from the Crusade. 

ROBIN 

But there — you've told the story ! 



134 SHERWOOD 

ARTHUR 

Ah, not all! 

ROBIN- 

'No, not quite all. What's that?] 

\_The music suddenly stops. The maskers crowd together 
whispering excitedly.'] 

ARTHUR 

Why have they stopped 
The music? [Ah, there's Hubert. Shall I ask him? 

ROBIN 

Yes, quickly, and come back ! 

[Arthur runs up to a masker. Several go hy hurriedly. "X 

FIRST MASKER 

The King is dead ! 

[second masker 
Where did it happen? France? 

first masker 

I know not, sir ! 
[Arthur returns.']'^ 

ARTHUR 

Eobin, they say the King is dead ! So John 
Is king now, is he not? 

robin 

Ay, John is king! 
Now, tell me quickly, use your eyes, my boy, 
Where's Lady Marian? 



SHERWOOD 135 

ARTHUR 

Ah, there she is at last, 
Alone ! 

ROBIN 

Go to her quickly, and bring her hither. 
[Arthur runs off and returns with Marian.] 

MARIAN 

Eobin, thank God, you have returned. I feared — 

ROBIN 

N'o more, dear heart, you must away to Sherwood ! 
Shadow-of-a-Leaf is waiting by the orchard 
With your white palfrey. Away, or the new king 
Will hunt us down. I'll try to gain you time. 
Go — quickly ! 

MARIA.N 

Eobin, your face is white, you are wounded ! 
What's this — there's blood upon your doublet ! 
Eobin ! 

ROBIN 

Nothing ! Go, quickly ! 

MARIAN 

Eobin, I cannot leave you. 

ROBIN 

Go, Marian. If you ever loved me, go. 



MARIAN 

You'll follow? 



136 SHERWOOD 

ROBIN 

Oh, with my last breath I will, 
God helping me ; but I must gain you time ! 
Quickly ! Here comes the King ! 

MARIAN 

Oh, follow soon ! 
[Exit.'] > 

[Robin sits down again, steadying himself against the 'pil- 
lar. John appears ^at the doors of the palace, above the 
terrace,'^ a scroll in his hand.'\ 

JOHN 

My friends, the King is dead ! 

MASKERS 

[Talcing off their masks, with a cry.'] 

Long live King John ! 

JOHN 

[Coming down amongst them.] 
Our masque is ended by this grievous news; 
But Where's my Lady Marian ? I had some word 
To speak with her ! Not here ! Why — 

ROBIN 

[Still masked, rises and confronts the King, mho stares at 
him and shrinks hack a little.] 

All the masks 
Are off, sire ! No, perhaps they wear them still. 

JOHN 

Who is this ? 



SHERWOOD 137 

ROBIN 

One that was dead and lives. You say 
Your brother, the great King, is dead. Oh, sire. 
If that be so, you'll hear a dead man speak, 
For your dead brother's sake. You say the King 
Is dead ; but you are king. [So the King lives ! 
You are King of England now from sea to sea. 
Is it not so?] Shout, maskers, once again. 
Long live the King ! 

MASKERS 

Long live the King! 

ROBIN 

You see 

What power is yours ! Your smile is life, your frown 

Death. At a word from you the solid earth 

Would shake with tramp of armies. [You can call 

Thousands to throw away their lives like straws 

Upon your side, if any foreign king 

Dare to affront you.] 

[He draws nearer to John, who still shrinTcs a little, as if in 
fear.] 

Eichard, you say, is dead, 

And yet, King, I say that the great King 

Lives ! 

[He strikes John across the face. John cowers and stag- 
gers hack. The Maskers draw their swords, the 
women scream and rush together. Eobin turns, 
sword in hand, to confront the Maskers.] 
Back, fools ; for I say that the great King 

Lives. [Do not doubt it. Ye have dreamed him dead 

How often.] Hark, God in heaven, ye know that voice. 

[A voice is heard drawing nearer thro* the distant darkness 
of the garden, singing. All listen. John^s face 
whitens.'] 



138 SHERWOOD 

[Song.] 

Knight, on the narrow way, 
Where wouldst thou ride? 

" Onward/' I heard him say, 
" Love, to thy side." 

ROBIN 

'Tis Blondel ! Still vaunt-courier to the King, 
As when he burst the bonds of Austria ! Listen ! 
[Song nearer.] 

" Nay," sang a bird above, 

" Stay, for I see 
Death, in the mask of love, 

Waiting for thee." 

MASKERS 

[Resuming their masks and muttering to one anotJier.] 
Can the King live ? Is this John's treachery ? Look, 
He is crushed with fear ! 

ROBIK 

Listen ! I'll go to meet him. 
[Exit into the garden.] 

MASKERS 

It was the song of Blondel! The same song 
He made with Richard, long since ! — 

Blondel's voice! 
Just as we heard it on that summer's night 
When Lion-Heart came home from the Crusade. 
[The Song still drawing nearer.] 

" Death ! What is Death ? " he cried. 

" I must ride on, 
On to my true love's side, 

Up to her throne ! " 



SHERWOOD 139 

[Enter Blondel, fro7n the garden. He stands, startled by 
the scene before him.~\ 

MASKERS 

Blondel ! Where is the King ? Where is the King ? 

BLONDEL 

Did ye not know? — Eichard, the King, is dead! 

MASKERS 

Dead! 

JOHN 

Dead! And ye let the living dog escape 
That dared snarl at our sovereignty. I know him. 
Risen from the dead or not. I know 'twas he, 
'Twas Robin Hood ! After him ; hunt him down ! 
Let him not live to greet another sun. 
After him! 

MASKERS 

[Drawing their swords and plunging into the darTcnessJ\ 
After him ; hunt the villain down ! 

^[Curtain.'] 



ACT V 



ACT V 

Scene I. Morning. Sherwood Forest (as before) . 

LiTi'LE John and some of the Outlaws are gath- 
ered together talking. Occasionally they look 
anxiously toward the cave and at the approaches 
through the wood.'J Enter two Foresters, run- 
ning and breathless. 

FIRST FORESTER 

The King's men ! They are scouring thro' the wood, 
Two troops of them, five hundred men in each 
And more are following. 



And quickly. 



SECOND FORESTER 

We must away from here 

[little JOHN 

Where did you sight them ? 

SECOND forester 

From the old elm. 
Our watch-tower. They were not five miles away ! 

FIRST forester 

Five, about five. We saw the sunlight flash 
Along, at least five hundred men at arms ; 
And, to the north, along another line. 
Bigger, I think ; but not so near. J 

SECOND FORESTER 

Where's Eobin? 
We must away at once ! 

143 



144 SHERWOOD 

FIRST FORESTER 

No time to lose! 

LITTLE JOHN 

His wound is bitter — I know not if we dare 
Move him ! 

FIRST FORESTER 

His wound ? 

LITTLE JOHN 

Ay, some damned arrow pierced him 
When he escaped last night from the Dark Tower. 
He never spoke of it when first he reached us ; 
And, suddenly, he swooned. [He is asleep 
Now. He must not be wakened. They will take 
Some time yet ere they thread our forest-maze. 

FIRST FORESTER 

Not long, by God, not long. They are moving fast.J 
[Marian appears \at the mouth of the cave. All turn to 
look at her, expectantly. She seems in distress.] 

MARIAN 

He is tossing to and fro. I think his wound 
Has taken fever ! What can we do ?] 

FRIAR TUCK 

I've sent 
A messenger to Kirklee Priory, 
Where my old friend the Prioress hath store 
Of balms and simples, and hath often helped 
A wounded forester. Could we take him there, 
Her skill would quickly heal him. 

LITTLE JOHN 

The time is pressing! 



SHERWOOD 145 

FRIAR TUCK 

The lad will not be long ! 

[EoBiN appears tottering and white ^at the mouth of the 
cave.'\'^ 

MARIAN 

[Running to him.'] 

Robin, Eobin, 
You must not rise! Your wound! 

ROBIN 

[He speaks feverishly.] 

Where can I rest 
Better than on my greenwood throne of turf? 
[Friar, I heard them say they had some prisoners. 
Bring them before me. 



And they can wait. 



FRIAR TUCK 

Master, you are fevered, 



ROBIN 

Yes, yes; but there are some 
That cannot wait, that die for want of food, 
And then — the Norman gold will come too late, 
Too late. 

LITTLE JOHN 

master, you must rest. 

[Going up to him.] 

MARIAN 

Oh, help me, 
Help me w4th him. Help me to lead him back.] 



146 SHERWOOD 

ROBIN 

Ko ! No ! You must not touch me ! [I will rest 
When I have seen the prisoners, not before.] 

LITTLE JOHN 

He means it, mistress, better humour him 
Or he will break his wound afresh. 

MARIAN 

Eobin, 
Give me your word that you'll go back and rest, 
[When you have seen them.] 

ROBIN 

Yes, I will try, I will try ! 
But oh, the sunlight ! Where better, sweet, than this ? 
IShe leads him to the throne of turf and he sits down upon 

it, with Marian at his side.] 
The Friar is right. This life is wine, red wine. 
Under the greenwood boughs ! Oh, still to keep it, 
One little glen of justice in the midst 
Of multitudinous wrong. Who knows? We yet 
May leaven the whole world. 
[* Enter the Outlaws, with several prisoners, among them, 

a Knight, an Abbot, and a Forester.] 

These are the prisoners? 
You had some victims of the forest laws 
That came to you for help. Bring them in, too. 
And set them over against these lords of the earth ! 
[8ome ragged women and children appear. Several serfs 

with iron collars round their necks and their eyes 

put out, are led gently in.] 
Is that our Lincoln green among the prisoners ? 
There ? One of my own band ? 

* In acting omit text from this point to end of scene with 
prisoners, p. 152. 



SHERWOOD 14? 



LITTLE JOHN 



Ay, more's the pity ! 
We took him out of pity, and he has wronged 
Our honour, sir ; he has wronged a helpless woman 
Entrusted to his guidance thro' the forest. 

ROBIX 

Ever the same, the danger comes from those 
We fight for, those below, not those above ! 
Which of you will betray me to the King? 

THE FORESTER 

Do you ask me, sir ? 

ROBIN" 

Judas answered first, 
With " Master, is it I ? " Hang not thy head ! 
What say'st thou to this charge? 

THE FORESTER 

Why, Friar Tuck 
Can answer for me. Do you think he cares 
Less for a woman's lips than I ? 

FRIAR TUCK 

Cares less, 
Thou rotten radish ? Nay, but a vast deal more ! 
God's three best gifts to man, — woman and song 
And wine, what dost tliou know of all their joy ? 
Thou lean pick-purse of kisses ? 

ROBIN 

Take him out. 
Friar, and let him pack his goods and go. 
Whither he will. I trust the knave to thee 
And thy good quarter-staff, for some five minutes 
Before he says " Farewell." 



148 SHERWOOD 

FRIAR 

Bring him along, * 
Give him a quarter-staff, I'll thrash him roundly. 
[He goes out. Two of the Foresters follow with the 
p}'isoner. Others bring the Abbot before 

EOBIN.] 

ROBIN 

Ah ! Ha ! I know him, the godly usurer 
Of York ! 

We saw a woman beg for alms. 
One of the sufferers by the rule which gave 
This portly Norman his fat priory 
And his abundant lands. We heard him say 
That he was helpless, had not one poor coin 
To give her, not a scrap of bread ! He wears 
Purple beneath his cloak : his fine sleek palfrey 
Flaunted an Emperor's trappings ! 



Must keep her dignity 



ABBOT 



ROBIN 



Man, the Church 



[Pointing to the poor woman, etc,'] 
Ay, look at it ! 
There is your dignity ! And you must wear 
Silk next your skin to show it. But there was one 
You call your Master, and He had not where 
To lay His head, save one of these same trees ! 

ABBOT 

Do you blaspheme ! I pray you, let me go ! 
There are grave matters waiting. I am poor ! 

ROBIN 

Look in his purse and see. 



SHERWOOD 149 

ABBOT 

[Hurriedly.] 

I have five marks 
In all the world, no more. I'll give them to you ! 

ROBIN 

Look in his purse and see. 

[They pour a heap of gold oui of his purse.] 

ROBIN 

Five marks, indeed! 
Here's, at the least, a hundred marks in gold ! 

ABBOT 

That is my fees, my fees ; you must not take them ! 

ROBIN 

The ancient miracle! — five loaves, two small fishes; 
And then — of what remained — they gathered up 
Twelve basketsful! 

ABBOT 

Oh, you blaspheming villains! 

ROBIN 

Abbot, I chance to know how this was wrought, 

This miracle ; wrought with the blood, anguish and sweat 

Of toiling peasants, while the cobwebs clustered 

Around your lordly cellars of red wine. 

Give him his five and let him go. 

ABBOT 

[Going out.] 

The King 
Shall hear of this ! The King will hunt you down ! 



150 SHERWOOD 

ROBIN 



And now — the next! 



Your wound will — 



SCARLET 

Beseech you, sir, to rest. 

ROBIN 

No ! The next, show me the next ! 



SCARLET 

This Norman baron — 

ROBIN 

What, another friend ! 
Another master of broad territories. 
How many homes were burned to make you lord 
Of half a shire ? What hath he in his purse ? 

SCARLET 

Gold and to spare ! 

BARON 

To keep up mine estate 



I need much more. 



ROBIN 



I am not rich. 



l^Pointing to the poor.'] 

Ay, you need these! these! these! 

BARON 

[Protesting.'] 



ROBIN 

Look in his purse and see. 



SHERWOOD 151 

BARON 

You dogs, the King shall hear of it ! 

ROBIN 

[Murmuring as if to himself,'] 

Five loaves ! 
And yet, of what remained, they gathered up 
Twelve basketsful. The bread of human kindness 
Goes far ! Oh, I begin to see new meanings 
In that old miracle! How much? How much? 

SCARLET 

Five hundred marks in gold ! 

ROBIN 

[Half rising and speaking with a sudden passion.'] 

His churls are starving. 
Starving ! Their little children cry for bread ! 
One of those jewels on his baldric there 
Would feed them all in plenty all their lives ! 
Five loaves — and yet — and yet — of what remained. 
The fragments, mark you, twelve great basketsful! 

BARON 

I am in a madman's power ! The man is mad ! 

ROBIN 

Take all he has, all you can get. To-night, 
When all is dark (we must have darkness, mind. 
For deeds like this) blind creatures will creep out 
With groping hands and gaping mouths, lean arms. 
And shrivelled bodies, branded, fettered, lame. 
Distorted, horrible; and they will weep 
Great tears like gouts of blood upon our feet, 
And we shall succour them and make them think 
(That's if you have not mangled their poor souls 



152 SHERWOOD 

As well, or burned their children with their homes), 
We'll try to make them think that some few roods 
Of earth are not so bitter as hell might be. 
Are you not glad to think of this ? Nay — go — 
Or else your face will haunt me when I die ! 
Take him quickly away. The next ! The next ! 
God!] 

[Flings up his arms and falls fainting.'] 

MARIAN- 

[Bending over him.'] 
Eobin! Eobin! Help him quickly. 
The wound ! The wound ! 

[They gather round Eobin. iThe Outlaws come hack 
with the captive Forester, his pack upon his 
back.] 

friar tuck 

[To the Forester.] 

Now, get you gone and quickly ! 
What, what hath happened ? 

[Friar Tuck and the Outlaws join the throng round 
Eobin. The Forester shakes his fist at them 
and goes across the glade muttering. 1 The Mes- 
senger from Kirklee Priory comes out of the 
forest at the same moment land speaks to him, 
not knowing of his dismissal.]'^ 

messenger 

All's well ! Eobin can come 
To Kirklee. Our old friend the Prioress 
Is there, and faithful! They've all balms and simples 
To heal a wound. 



forester 
[Staring at him.] 



To Kirklee? 



SHERWOOD 153 

MESSENGER 

Yes, at sunset, 
We'll take him to the borders of the wood 
All will be safe. 
Where he can steal in easily, alone. 

FORESTER 

The King's men are at hand ! 

MESSENGER 

Oh, but if we can leave him there, all's safe ; 
We'll dodge the King's men. 

FORESTER 

When is he to go? 

MESSENGER 

[Almost] at once; but he must not steal in 
Till sundown, when the nuns are all in chapel. 
[How now ? What's this ? What's this ?] 

[He goes across to the throng round Kobin.] 

[forester 

[Looking after him.^ 
Alone, to Kirklee!] 

[Exit,] 



Scene II. A room in Kirhlee Priory. A window on the 
right overlooks a cloister leading up to the chapel 
door. The forest is seen in the distance, the sun 
beginning to set behind it. The Prioress and a 
Novice are sitting [m a window-seaf^ engaged 
in broidery work. 

NOVICE 

He must be a good man — this Eobin Hood ! 
I long to see him. Father use to say 
England had known none like him since the days 
Of Hereward the Wake. 

PRIORESS 

He will be here 
By vespers. You shall let him in. Who's that? 
Can that be he? It is not sundown yet. 
See who is there. 

[Exit Novice. She returns excitedly.'] 

NOVICE 

A lady asks to see you ! 
She is robed like any nun and yet she spoke 
Like a great lady — [one that is used to rule 
More than obey ; and on her breast I saw 
A ruby smouldering like a secret fire 
Beneath her cloak.] She bade me say she came 
On Robin Hood's behest. 

PRIORESS 

What ? Bring her in 
Quickly. 

154 



SHERWOOD 155 

[Exit Novice and returns with Queen Elinor in a nuns 
garb. At the sign from the Prioress the Nov- 
ice retires.] 

ELINOR 

Madam, I come to beg a favour. 
I am a friend of Eobin Hood. I have heard — 
[One of his Foresters, this very noon 
Brought me the news — ] that he is sorely wounded; 
And purposes to seek your kindly help 
At Kirklee Priory. 

PRIORESS 

Oh, then indeed. 
You must be a great friend, for this was kept 
Most secret from all others. 

ELINOR 

A great friend ! 
He was my page some fifteen years ago, 
[And all his life I have watched over him 
As if he were my son ! J I have come to beg 
A favour — let me see him when he comes. 
My husband was a soldier, and I am skilled 
In wounds. [In Palestine I saved his life 
When every leech despaired of it, a wound 
Caused by a poisoned arrow.] 

PRIORESS 

You shall see him. 
[I have some skill myself in balms and simples. 
But, in these deadlier matters I would fain 
Trust to your wider knowledge.] 

ELINOR 

Let me see him alone ; 
Alone, you understand. [His mind is fevered. 



166 SHERWOOD 

I have an influence over him.] Do not say 
That I am here, or aught that will excite him. 
[Better say nothing — lead him gently in, 
And leave him. In my hands he is like a child.J 

PRIORESS 

It shall be done. [I see you are subtly versed 
In the poor workings of our mortal minds. 

ELINOR 

I learnt much from a wise old Eastern leech 
When I was out in Palestine. 

PRIORESS 

I have heard 
They have great powers and magic remedies; 
They can restore youth to the withered frame. 

ELINOR 

There is only one thing that they cannot do. 

PRIORESS 

And what? 

ELINOR 

They cannot raise the dead. 

PRIORESS 

Ah, no; 
I am most glad to hear you say it, most glad 
To know we think alike. That is most true — 
Yes — yes — most true ; for God alone, dear friend. 
Can raise the dead ! J 

\_A hell begins tolling slowly.^ 
The bell for even-song! 
You have not long to wait. 

[Shadowy figures of nuns pass the windows and enter the 
chapel. The sunset deepens.'] 



SHERWOOD 157 

Will you not pray 
With me? 

[The Prioress and Queen Elinor kneel down together 
before a little shrine. Enter the Novice.] 

NOVICE 

There is a forester at the door. 
Mother, I think ^tis he ! 

PRIORESS 

[Rising. 1 
Admit him, then. 

ELINOR 

Leave me : I will "keep praying till he comes. 

PRIORESS 

You are trembling ! You are not afraid ? 

ELINOR 

[With eyes closed as in strenuous devotion."] 

No ; no ; 
Leave me, I am but praying ! 

[A chant swells up in the chapel. Exit Prioress. Eli- 
nor continues muttering as in prayer. Enter 
EoBiN Hood, steadying himself on his bow, weak 
and white. She rises and passes between him and 
the door to confront him.l 

ELINOR 

Ah, Eobin, you have come to me at last 

Por healing. Pretty Marian cannot help you 

With all her kisses. 

ROBIN HOOD 

[Staring at her wildly.] 
You ! I did not know 



158 SHERWOOD 

That you were here. I did not ask your help. 

I must go — Marian ! 

\_He tries to reach the door, hut reels in a half faint on the 
way, Elinor supports him as he pauses, pant- 
ing for breath.'] 

ELINOR 

Kobin, your heart is hard. 
Both to yourself and me. You cannot go, 
Eejecting the small help which I can give 
As if I were a leper. [Ah, come back. 
Are you so unforgiving ? God forgives ! 
Did you not see me praying for your sake ? 
Think, if you think not of yourself, oh, think 
Of Marian — can you leave her clinging arms 
Yet, for the cold grave, Eobin ?] I have risked 
Much, life itself, to bring you help this day! 
I have some skill in wounds. 

\_8he holds him closer and brings her face near to his own, 
looking into his eyes.] 

[Ah, do you know 
How slowly, how insidiously this death 
Creeps, coil by tightening coil, around a man, 
When he is weak as you are ? Do you know 
How the last subtle coil slips round your throat 
And the flat snake-like head lifts up and peers 
With cruel eyes of cold, keen inquisition, 
Eivetting your own, until the blunt mouth sucks 
Your breath out with one long, slow, poisonous kisspj 

ROBIN HOOD 

[0 God, that nightmare !] Leave me ! Let me go ! 

ELINOR 

[You stare at me as if you saw that snake. 

Ha ! Ha ! Your nerves are shaken ; you are so weak !] 



SHERWOOD 159 

You cannot go ! What ! Fainting ? Ah, rest here 

Upon this couch. 

[She half supports, half thrusts him bach to a couch [in 

an alcove out of sight and draws a curtain.'J 

There is a knock at the door,} 

ELINOR 

Who's there? 

PRIORESS 

Madam, I came 
To know if I could help in anything. 

ELINOR 

Nothing ! His blood runs languidly. It needs 

The pricking of a vein to make the heart 

Beat, and the sluggish rivers flow. I have brought 

A lance for it. I'll let a little blood. 

Not over-much; enough, enough to set 

The pulses throbbing. 

PRIORESS 

Maid Marian came with him. 
She waits without and asks — 

ELINOR 

Let her not come 
Near him till all is done. Let her not know 
Anything, or the old fever will awake. 
I'll lance his arm now ! 

[The Prioress closes the door. [Elinor goes into the al- 
cove.1 The chant from the chapel swells up 
again. Queen Elinor Icomes out of the alcove,"! 
white and trembling. She speaks in a- low whis- 
per as she looks back.] 
Now, trickle down, sweet blood. Grow white, fond lips 
That have kissed Marian — [yet, she shall not boast 



160 SHERWOOD 

You kissed her last; for I will have you wake 

To the fierce memory of this kiss in heaven 

Or burn with it in hell;] 

[She kneels down as if to kiss the face of EOBIN, ^within. 
The chant from the chapel swells up more 
loudly. '\ The door slowly opens. Marian steals 
in. Elinor rises and confronts her.] 

ELINOR 

[Laying a hand upon Eobin's how beside her.} 
Hush ! Do not wake him ! 

MARIAN 

[In a low voice.] 
What have you done with him ? 

ELINOR 

[^5 Marian advances towards the couch.] 

He is asleep. 
Hush ! Not a step further ! Stay where you are ! His life 
Hangs on a thread. 

MARIAN 

Why do you stare upon me? 
What have you done ? What's this that trickles down — 

l[Stoops to the floor and leaps hack with a scream. 
It is blood. You have killed him ! 

ELINOR 

[Seizes the how and shoots. Marian falls.] 

[Follow him — down to hell. 
King John will find you there.J 

[Exit. The scene grows dark.] 

MARIAN 

[Lifts up her head with a groan.] 

I am dying, Eobin ! 



SHERWOOD 161 

[0 God, I cannot wake him!] Eobin ! Eobin! 

[Give me one word to take into the dark ! 

He will not wake ! He will not wake ! God, 

Help him!l 

[She falls back unconscious. Shadow-of-a-Leaf, a green 
spray in Jiis hand, opens the casement and stands 
for a moment in the windoiv against the last glow 
of sunset, then enters and runs to the side of 

KOBIX.] 

SHADOW-OF-A-LEAF 

[Hurriedly.~\ 
Awake, awake, Eobin, awake ! 
The forest waits to help you ! All the leaves 
Are listening for your bugle. Ah, where is it? 
[Let but one echo sound and the wild flowers 
Will break thro' these grey walls and the green sprays 
Drag down these deadly towers. Wake, Eobin, wake, 
And let the forest drown the priesf s grey song 
With happy murmurs.] Eobin, the gates are open 
For you and Marian ! All I had to give 
I have given to thrust them open, the dear gates 
Of fairyland which I shall never pass 
Again. I can no more, I am but a shadow, 
Dying as mortals die ! It is not I 
That calls, not I, but Marian. Hear her voice! 
Eobin, awake ! 
master mine, farewell ! 

lExit lingeringly through the casement.'] 

ROBIN 

[Eobin [is dimly seen in the mouth of the alcove. He} 

stretches out his hands blindly in the dark.] 
Marian! Why do you call to me in dreams? 
[Why do you call me ? I must go. What's this ?] 
Help me, kind God, for I must say [one word, 



16^ SHERWOOD 

Only one word] — good-bye — to Marian, 

To Marian — Ah, too weak, too weak ! 

[He sees the darh body of Marian and utters a cry, falling 
on his knees beside herj\ 

God, 

Marian ! Marian ! 

My bugle ! Ah, my bugle ! 

\^He rises to his feet and, drowning the distant organ- 
music, he blows a resounding forest-call. It is 
answered by several in the forest. He falls on 
his knees by Marian and takes her in his arms.^ 

Marian, Marian, who hath used thee so ? 

MARIAN 

Eobin, it is my death-wound. [Ah, come close.J 

ROBIN 

Marian, Marian, what have they done to thee ? 
[The Outlaws are heard thundering at the gates with 
cries.'] 

OUTLAWS 

Eobin ! Eobin ! Eobin ! Break down the doors. 

[The terrified nuns stream 'past the window, out of the 

chapel. The Outlaws rush into the room. The 

scene still darkens.] 

SCARLET 

Eobin and Marian ! 

[little JOHN 

Christ, what devil's hand 
Hath played the butcher here ? Quick, hunt them down. 
They passed out yonder. Let them not outlive 
Our murdered king and queen. 



SHERWOOD 163 

REYNOLD GREENLEAF 

Robin, Robin, 
Who shot this bitter shaft into her breast? 

^Several stoop and kneel hy the two lovers.YX 

ROBIX HOOD 

[Speak to me, Marian, speak to me, only speak ! 

Just one small word, one little loving word 

Like those — do you remember ? — you have breathed 

So many a time and often, against my cheek, 

Under the boughs of Sherwood, in the dark 

At night, with nothing but the boughs and stars 

Between us and the dear God up in heaven !] 

God, why does a man's heart take so long 

To break? It would break sooner if you spoke 

A word to me, a word, one small kind word. 

[MARIAN 

Sweetheart ! 

ROBIN 

Sweetheart ! You have broken it, broken it ! Oh, kind, 
lund heart of Marian ! J 

MARIAN 

Robin, come soon! 
[Dies.^ 

ROBIN 

Soon, sweetheart ! [Oh, her sweet brave soul is gone !] 
Marian, I follow quickly ! 

[scarlet 

God, Kirklee 
Shall burn for this !] 



164 SHERWOOD 

LITTLE JOHN 

Kirklee shall burn for this ! 

master, master, you shall be avenged! 

ROBIN 

No ; let me stand upright ! Your hand, good Scarlet ! 
We have lived our lives and God be thanked we go 
Together thro' this darkness. [We shall wake 
Please God, together. It is growing darker ! 

1 cannot see your faces.] Give me my bow 
Quickly into my hands, for my strength fails 
And I must shoot one last shaft on the trail 
Of yonder setting sun, never to reach it! 
But where this last, last bolt of all my strength. 
My hope, my love, shall fall, there bury us both, 
Together, and tread the green turf over us! 
The bow ! 

[Scarlet liands him his how. He stands against the 
faint glow of the window, draws the how to full 
length, shoots and falls hack into the arms of 
Little John.] 

little john 

[Laying him down.^ 
[Weep, England, for thine outlawed lover. 
Dear Hobin Hood, the poor man's friend, is dead.] 
[The scene hecomes quite dark. Then out of the darkness, 
and as if at a distance, the voice of Shadow-of-a- 
Leaf is heard singing the fairy song of the first 
scene. The fairy glade in Sherwood hegins to be 
visible in the gloom by the soft light of the ivory 
gates ivhich are swinging open once more among 
the ferns. As the scene grows clearer the song of 
Shadow-of-a-Leaf grows more and more tnum^ 
phant and is gradually caught up by the chorus of 
the fairy host within the ivoods.^ 



SHERWOOD 165 

[Song of Shadow-of-a-Lbaf] 

I 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered! 
The world begins again ! 
And 0, the red of the roses, 

And the rush of the healing rain ! 

II 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered ! 

The Princess wakes from sleep; 
For the soft green keys of the wood-land 
Have opened her donjon-keep! 

Ill 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered! 

Their grey walls hemmed us round; 
But, under my greenwood oceans. 

Their castles are trampled and drowned. 

IV 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered! 

My green sprays climbed on high. 
And the ivy laid hold on their turrets 
And haled them down from the sky ! 

V 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered ! 

They were strong ! They are overthrown ! 
For the little soft hands of the wild-flowers 
Have broken them, stone by stone. 



166 SHERWOOD 

VI 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered ! 

Though Eobin lie dead, lie dead, 
And the green turf by Kirklee 
Lie light over Marian's head, 

VII 

Green ferns on the crimson sky-line, 

What bugle have you heard? 
Was it only the peal of the blue-bells. 
Was it only the call of a bird? 

VIII 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered! 

The rose o'er the fortalice floats ! 
My nightingales chant in their chapels, 
My lilies have bridged their moats ! 

IX 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered ! 

King Death, in the light of the sun. 
Shrinks like an elfin shadow ! 
His reign is over and done! 

X 

The hawthorn vs^hitens the wood-land; 
My lovers, awake, awake. 
Shake off the grass-green coverlet. 
Glide, bare-foot, thro' the brake! 



SHERWOOD 167 

XI 

The Forest has conquered ! The Forest has conquered ! 
The Forest has conquered ! 

And, under the great green boughs, 
I have found out a place for my lovers, 
I have built them a beautiful house. 

XII 

Green ferns in the dawn-red dew-fall, 

This gift by my death I give, — 
They shall wander immortal thro' Sherwood ! 
In my great green house they shall live ! 

XIII 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered ! 

When the first wind blows from the South, 
They shall meet by the Gates of Faerie ! 
She shall set her mouth to his mouth ! 

XIV 

He shall gather her, fold her and keep her ; 

They shall pass thro' the Gates, they shall 
live ! 
For the Forest, the Forest has conquered ! 
This gift by my death I give ! 

XV 

The Forest has conquered! The Forest has conquered! 
The Forest has conquered ! 
The world awakes anew ; 
And 0, the scent of the hawthorn. 
And the drip of the healing dew ! 



168 SHERWOOD 

[The song ceases. Titania and Oberon come- out into 
the moonlit glade.] 

OBERON 

Yet one night more the gates of fairyland 
Are opened by a mortal's kindly deed. 
But Eobin Hood and Marian now are driven 
As we shall soon be driven, from the world 
Of cruel mortals. 

TITANIA 

Mortals call them dead; 
Oberon, what is death? 

OBERON 

Only a sleep. 
But these may dream their happy dreams in death 
Before they wake to that new lovely life 
Beyond the shadows; for poor Shadow-of-a-Leaf 
Has given them this by love's eternal law 
Of sacrifice, and they shall enter in 
To dream their lover's dream in fairyland. 

TITANIA 

And Shadow-of-a-Leaf? 

OBERON 

He cannot enter now. 
The gates are closed against him. 

TITANIA 

But is this 
For ever? 

OBERON 

We fairies have not known or heard 
What waits for those who, like this wandering Fool, 



SHERWOOD 169 

Throw all away for love. But I have heard 
There is a great King, out beyond the world, 
Not Eichard, who is dead, nor yet King John; 
But a great King who one day will come home 
Clothed with the clouds of heaven from His Crusade. 



TITANIA 

The great King! 

[OBERON" 

Hush, the poor dark mortals come ! 
l^TJie crowd of serfs, old men, poor women, and children, 
begin to enter as the fairy song swells up within 
the gates again. Eobin and Marian are led 
along by a crowd of fairies at the end of the pro- 
cession.} 

TITANIA 

And there, see, there come Eobin and his bride. 
And the fairies lead them on, strewing their path 
With ferns and moon-flowers. See, they have entered in! 
[The last faii-y vanishes thro' the gates.]"! 

OBERON 

And we must follow, for the gates may close 

For ever now. Hundreds of years may pass 

Before another mortal gives his life 

To help the poor and needy. 

[Oberon and Titania follow hand in hand thro' the gates. 
They begin to close. Shadow-of-a-Leaf steals 
wistfully and hesitatingly across, as if to enter. 
They close in his face. He goes up to them and 
leans against them sobbing, a small green figure, 
looking like a greenwood spray against their soft 
ivory glow. The fairy inusic dies. He sinks to 
his knees and holds up his hands. Xlmmedi- 



170 SHERWOOD 

ately a voice is heard singing and drawing nearer 
thro' the forest.] 

[Song — drawing nearer.] 

Knight on the narrow way, 

Where wouldst thou ride ? 
" Onward/' I heard him say, 

" Love, to thy side ! '' 
" Nay," sang a bird above, 

" Stay, for I see 
Death in the mask of love 

Waiting for thee." 

[Enter Blondel, leading a great white steed. He stops 
and looks at the kneeling figure.] 



BLONDEL 



Shadow-of-a-Leaf ! 



My King 



SHADOW-OF-A-LEAF 

[Rising to his feet.] 
Blondel ! 



BLONDEL 

I go to seek 

SHADOW-OF-A-LEAF 

[In passionate grief.] 
The King is dead ! 



BLONDEL 

[In yet more passionate joy and triumph.] 

The great King lives! 
[Then more tenderly.] 
Will you not come and look for Him with me ? 
[They go slowly together through the forest and are lost 
to sight Blondel^s voice is heard singing the 



SHERWOOD 171 

third stanza of the song in the distance, further 
and further away.] 
" Death ? What is Death ? '' he cried. 

" I must ride on ! ''] 

ICiirtain.] 



DIRECTIONS FOR PRODUCTION 



DIRECTIONS FOR PRODUCTION 

FOREWORD 

" Sherwood," as a literary composition, contains so 
much that is beautiful and significant in history and 
legend; as a play so much opportunity for exquisite blend- 
ing of music, light, costume, scenic effect, and vigorous 
yet poetic acting, that the work should prove of great 
service to any school or college looking for permanent 
values to the cultural life of the institution. This stage 
version has been made with the hope that the producing 
success already achieved in many schools and colleges will 
be realized in many more. 

Practical experience has demonstrated that the textual 
cuts, the stage directions, the suggestions for costuming 
and scenic detail of this edition best serve the needs of 
average conditions. Brackets indicate all cuts so as to 
preserve the integrity of the original. Necessary stage 
directions follow, each page taken in order. The beauty 
and force of the lines furnish their own directions as to 
when a character shall '^ register " fear, love, hate, awe, 
tenderness, etc. Only such other directions are made as, 
from experience, will prove helpful. It is impossible, in 
an appendix, to make every direction as clear and as ex- 
plicit as a text annotated with comment and diagrams. 
But nothing must be done to detract from the poetic charm 
of the text. Besides, each director will want to use his 
or her own conception of detailed treatment and to mould 
the action according to local conditions. 

GENERAL CONDITIONS 

The play may be produced, in this edition, within two 
hours and a half, including intermissions, from overture 
to final curtain. It may be produced in a city theatre, 

175 



176 SHERWOOD 

out-of-doors, or in a school auditorium. If given in a 
city theatre, avoid, as far as possible, using the conventional 
scenery ; that is, any old-fashioned " wood wings '' and 
** drops/' Use scenery that is simple and suggestive, 
augmenting it with actual trees and vines. Avoid wings 
with crude outlines or too strongly marked color effects. 
For a back drop prefer one with a minimum of woods 
and a maximum of sky, so that the play of lights can 
create the illusion of changing time. If given out-of- 
doors, clear an opening so that two rows of trees will face 
each other, masking off each side down stage with bushes. 
If there is no natural vista up stage, create one with shrub- 
bery. Effective stage lighting may be secured by artfully 
placed electric lights, shielded with cones throwing the 
lights away from the audience. The disposition of these 
lights will depend entirely upon a careful study of local 
conditions. They must be so placed as to give suflficient 
light upon the characters in action and yet create natural 
shadows. If a background of an ascending rocky slope is 
available, so much the better both for proper effect and 
for artistic stage entrances. 

The foot lights, of course, may be stretched across the 
level space dow^n stage. If the average school stage is 
used, one on which practically all scenery must be built, 
either resort to gray or blue screens and a solid blue back 
drop, with just a suggestion of woods secured by shrubbery, 
the whole played upon by proper lighting, or bring into 
use all the trees and shrubbery which will make a realistic 
forest scene. In any case a stage opening at least thirty 
feet wide by twenty-five or thirty feet deep is necessary. 
The height, from floor to flies, should be fifteen feet. 

The expenses of the production will vary according to 
circumstances. In general they comprise theatre rental, 
dress rehearsal, lights, costumes, orchestra hire, make-up 
work, advertising, programs, and rental of text and music. 
A general idea of average cost may be gathered from the 
following figures compiled from the production of this 



SHERWOOD 177 

play as given in Trenton, N. J., in 1915. Some of the 
items would no doubt be doubled to-da}^ 

Theatre rental (two performance3) $250.00 

Dress rehearsals (stage hands and lights) . . . 30.00 

Costumes 130.00 

Orchestra hire 60.00 

Make-up work 25.00 

Extras, including copies of text and Royalty i 

for performance 80.00 

$575.00 

Even with the cost of production to-day undoubtedly 
advanced, some of these items will be larger or smaller 
according to local conditions. The theatre rental will vary 
according to the city and size of the theatre. If given 
out-of-doors or in the school auditorium that item will be 
saved. Costume firms charge on varying scales according 
to the simplicity or ornateness of the material. Of course 
many costumes may be made. The costumes for this pro- 
duction were quite accurate and ample. Some school 
orchestras will be able to play the music composed for this 
play. Others will be entirely inadequate and some will 
have to be augmented. If programs are printed to allow 
for paid advertising, the entire cost of advertising — win- 
dow display cards, tickets, posters, etc., may be met. 

The above scale of expenses covers the outlay necessary 
for a typical high school production of the play. A more 
pretentious, out-of-door performance called for under av- 
erage college conditions, and involving special problems 
of lighting, seating, etc., and possibly the engaging of a 
professional director, may cost several times this amount. 

For production purposes a re-naming of the acts has 
been found desirable, designating Acts I and II as Pro- 
logue and Epilogue as follows : 

1 Application for permission to produce the play, with full par- 
ticulars of conditions of performance, must be made to the Paget 
Literary Agency, 500 Fifth Ave., New York City. 



178 SHERWOOD 

The Prologue, TJie Forest, pages 3-16; Act I, Banqueting 
Hall of Fitzwalters Castle, pages 17-43; Act II, Scene 1, 
The Forest, pages 47-74 ; Scene 2, The Forest, pages 77-104 ; 
Act III, Garden of the King's Palace, pages 107-153; The 
Epilogue, The Priory and the Forest, pages 154-169. 

It is understood, of course, that for class study purposes 
the arrangement of the play as devised by the author should 
not be changed. 

There are many useful books on the market which aid 
the amateur director, especially for a play of this char- 
acter. At least these thi'ee should be in the hands of 
every producer : " Practical Stage Directions for Ama- 
teurs," Taylor, E. P. Button and Co., New York; "Cos- 
tumes and Scenery for Amateurs," Mackay, Henry Holt 
& Co., New York; "How to Produce Amateur Plays," 
Clark, Little, Brown & Co., Boston. " Community Drama 
and Pageantry," Beegle and Crawford, Yale University 
Press, is also an excellent text with many practical sugges- 
tions for costumes, lighting, dancing, music, and all out- 
of-door conditions. Numerous pictures add greatly to 
its value. 

STAGE SETTINGS 

The scenery requirements are two interiors (a Castle 
Hall and a Priory), and two exteriors (a Forest and a 
Palace Garden). Stage diagrams for each scene are shown 
on pages 180 and 181. 



SHERWOOD 179 

The Prologue — Pages 3-16 

The Forest 

As indicated in the diagram, make a light wooden fence 
about four feet high, paint it white, and festoon it with 
vines. Extend the fence across stage about a fourth of 
the way down stage from the rear drop. The rear drop 
should represent the depth of the forest. The center of 
the fence should be broken by a high double gate, of scroll 
design, gilded. It should be at least ten feet high and 
made to swing up stage. 

Act I — Pages 17-43 

Banqueting Hall of Fitzwalters Castle 

The banqueting hall is most effective if treated simply; 
little furniture but accurate in design, plain but richly 
colored hangings, and the walls of a tone color that does 
not jar. Preferably use a stage set of paneled wood with 
brown or dark red hangings. The banquet table may be 
entirely omitted, as it will interfere with the action. The 
steps indicated in the diagram lead to Marian's room. 
Obviously the furniture should be medieval in character. 
It is a good plan to solicit the aid of the proprietor of a 
furniture store which specializes in period decoration and 
to give him the opportunity of setting this act appro- 
priately, in return for the advantage of advertising. Once 
you determine on the stage set 3^ou will use — often limited 
by the conditions of the theatre — the decorator can then 
determine what furniture and hangings will secure the 
best effect. However, do not permit him to overload the 
stage with furniture or to use odd pieces. 

Act II — Scene 1 — Pages 47-74 

The Forest 

The setting for this scene may be the same as for The 
Prologue, save that the fence and gates are out. If pos- 
sible use a different forest back drop. All references to 



180 



SHERWOOD 

PROLOGUE: 



BUNCH LicHrrs 




QSUA/C/f L/G//r 



BUMC/i UCHTQ^l 



Q3i/^/c//UG//r 



yqCTIL SCENE I 




SHERWOOD 
/^CT II, SC&NEII 



BUNCHUGHr 







181 



(^BUNCH L/CHr 



dU/^CHUGHT(^ 



(^UA/CH L/GHT 



182 SHERWOOD 

the ^' cave " mean the " hut." The front of the hut, with 
door C, shows on stage as indicated in the diagram. Most 
theatres possess among their stock properties, a hut or cot- 
tage. This usually consists merely of " flats " or canvas 
on frames, painted to resemble a rustic cottage, and held 
in place by stage braces. The door should be practical 
but windows need not be. If the theatre does not have 
one, the stage carpenter or manual training department 
of the school can easily make one. The appearance of 
the hut may be enhanced with a few plants about the 
doorway, and a few trailing vines. 

Act II — Scene 2 — Pages 77-104 

The Forest 

The setting for this scene is the same as for Scene 1, 
save that the hut is removed. A change in forest back 
drop, if possible, would, of course, be more in keeping 
with the place indicated. 

Act III — Pages 107-153 

Garden of the King's Palace 

The rear drop should show the vista of a garden with 
a castle. Up stage may be elevated by a platform run- 
ning a quarter of the way down stage, the front edge of 
it faced by a balustrade three feet high with opening in 
the middle. Two seats should be placed against the balus- 
trade, conforming in design to that of the balustrade. See 
diagram. 

The Epilogue — Pages 154-169 

The Priory and The Forest 

The stage for The Epilogue must be set up as for The 
Prologue — drop, forest scene, fence and gate. Down 
stage, as indicated in the diagram, set up a plain, dark 
interior to resemble a priory. Furnishings should be sim- 
ple — prayer-desk, couch covered with material in har- 
mony with the wall or hangings. The window should be 



SHERWOOD 183 

made casement in design, to swing outward, and it is most 
important that this setting be so contrived that it can be 
removed very quickly and silently for the change to the 
final scene. 

LIGHTING 

The lighting of this beautiful play is an essential feature 
of the production and requires some thought and care. 
If the play is given out-of-doors the lighting will depend 
entirely upon local conditions. Under the discussion of 
" General Conditions " some suggestions for out-of-door 
lighting are offered. Indoors, foot lights, borders, bunch 
and spot lights are needed. The general caution, how- 
ever, should be given not to use too much light. In the 
foot lights take out here and there several lamps and secure 
better effects by higher-powered lamps. Use fewer but 
larger lamps in the bunch lights, and substitute colored 
silk, if possible, for the old gelatin frames, or one of the 
newer devices which may be purchased from theatrical 
supply houses. The border lights may be improved by 
substituting for the long rows of lamps a few larger lamps 
covered with cone-shaped globes. Any tinsmith can make 
them, and paint them white inside, although porcelain- 
lined shields are better. This applies also to the foot 
lights. 

For The Prologue, bunch lights may be used R and L 
off stage behind the fence. Spot light may be used from 
the rear of the balcony of the theatre, but judiciously, 
and only when it will actually focus attention in dramatic 
necessity, never for mere theatrical effect. 

The house should be darkened before the overture, to 
establish the atmosphere of the play. The rise of the 
curtain should show the stage absolutely dark back of the 
gate. If necessary, suspend a transparency in front of 
the gate and fence which becomes invisible when bunch 
lights come on. Down stage should give the effect of faint 
moonlight. This may be secured by greens and ambers 
in the border lights and blues in the foot lights. Bring 



184 SHERWOOD 

up the bunch lights slowly on the entrance of the fairies, 
so as to create the effect of a fairy world growing out 
of the forest. A spot light in the balcony may play on 
the fairies as they dance, if desired. If their costumes 
are white, use colored lights. Raise curtain promptly 
on last note of overture. 

The lighting of Act I, The Banqueting Hall, represents 
late afternoon. First, use all ambers in the foots and bor- 
ders, blending off into reds with tinges of greens and blues. 
However, do not use these too strongly, because, as indi- 
cated in " Acting Directions," the bunch lights will develop 
the moonlight which eventually streams in from the hall- 
way. At this point the other lights may be dimmed down 
until they are hardly visible. 

For Act II, Scene 1, The Forest, we again have a sun- 
set scene, with the same effects employed as in Act I, the 
same dimming process, and the same use of the bunch 
lights. 

The lighting for Act II, Scene 2, The Forest, indicates 
the middle of the day, with full amber lights on in all 
lighting devices. 

The hour is sunset, in Act III, The Garden of the 
King's Palace. Use the same treatment of lights as in 
Act I, later effecting strong moonlight in the two bunch 
lights up stage. If gelatin frames are used, place first 
ambers in the frames, then slide in the reds as the ambers 
are removed. Then insert blues as the reds are removed, 
and then the greens as the blues are removed. It may 
be necessary, however, to retain the blues with the greens. 
An effective additional device is to festoon lines of odd- 
shaped lanterns in the flies, all wired with lights, ready 
to be lowered to view when Prince John enters to begin 
the festivities. 

The lighting for The Epilogue should be placed as in- 
dicated in The Prologue. For The Priory scene down stage 
use reds to indicate subdued light. Additional notes .may 
be found under acting directions, the epilogue. 



SHERWOOD 185 



PROPERTIES 



For The Prologue the essential properties consist of the 
fence, gate, vines, plants, swords, canes, fern, sacks, wands, 
and a donkey. The donkey is quite " practical." With 
practice he may be enticed across the stage. All these prop- 
erties may either be made in the manual training depart- 
ment of any school, or easily borrowed or procured. 

The properties for Act I are swords, lances, a candle, 
a staff, a cloak, a paper, a bugle, table and chairs, coudh 
and cushions, and steps. 

For Act II, Scene 1, are necessary flowers, cloaks, a 
paper, a staff, swords, lances, wands, a harp (to be car- 
ried in the hand — easily made), fern, a bugle, a cottage, 
piano off stage, seats, and a horse. The horse is also 
" practical," but will need more practice than the donkey. 

Properties for Act II, Scene 2, are a staff, a bugle, the 
harp, the horse, plates, swords, lances, bows and arrows, 
a comb, daggers, tables, seats, grass mats, fruit, cakes, 
and mugs. 

For Act III there will be needed lanterns with wiring, 
a paper, swords, a wand, a staff, the harp, balustrades, 
seats, steps, dominoes, and piano off stage. 

For The Epilogue the necessary properties in The Priory 
are chairs, a shrine or prayer desk, couch witli cover, a bell, 
organ off stage, a bugle, bow and arrows, and a dagger; 
and for The Forest up-stage the gate, fence, vines, and 
plants. 

MUSIC 

Very competent and beautiful music has been composed 
for this edition by Mr. Edward A. Mueller, whose published 
works are well-kno^vn. Both piano and full orchestral 
score may be secured by applying to him at his address, 
23 Prospect Street, Trenton, New Jersey. Following is 
a list of the numbers, with the composer^s suggestions: 

While the music for " Sherwood " is classic in form and 
standard, it is not difficult technically for singer or player. 
The director of the music should have sound musical judg- 



186 SHERWOOD 

ment and experience, as it is in the ensemble of orchestra 
and voices that difficulties are encountered, whether the 
performers be professional or amateur. 

The piano and vocal score includes the following num- 
bers : 

Overture and Fairies' Chorus: The Fairies' Chorus is 
written for female voices, in four parts. If necessary, 
the chorus sections may be given with two parts only, or 
even the melody in unison. The greater part of this num- 
ber is a duet that will be most effective with four or six 
voices, although two singers can render it. 

The Fairies' Dance: This is a waltz in slow tempo. 

BlondeVs Song: This song is in minor, in ancient 
ballad style with a light arpeggio accompaniment, in imi- 
tation of the harp, and is followed by a recitative without 
accompaniment. It can be sung equally well by alto or 
baritone, and demands a stable, true voice. 

Alan-a-Dale's Song: For baritone. 

Gavotte: Use "La Cinquintaine," by Gabriel-Marie. 

Miserere: This number, produced back stage in the 
Kirklee Priory scene, is written for reed organ and three 
parts for female voices. 

Music for Death Scene of Bohin Hood: This is inci- 
dental music, directions for which will be found on the 
score; also under acting directions, the epilogue. 

Death Song of Shadoiu-of-a-Leaf : This song for soprano 
or mezzo is short and in dramatic recitative form. 

The orchestral score includes above numbers and en- 
trances, exits, and curtain finales not designated in the 
piano and vocal score. The scoring calls for First and 
Second Violins, Viola, 'Cello, Bass, Oboe, Flute, Clarinet, 
Cornet, Trombone, Tympani, and Piano. The parts may 
be reduced at the discretion of the orchestra leader. 

COSTUMES AND MAKE-UP 

In a play of this character most of the costumes should 
be rented. Most costuming houses will be able to furnish 



SHERWOOD 187 

costumes well adapted for the period of the play, — Eobin 
Hood's, the foresters', the Friar's gown, and those for the 
lords and ladies, the King, Prince, and Queen. Careful 
directions should be given the costumer as to the exact na- 
ture of the play, and absolutely correct measurements be 
given. Be careful about the size of hats and shoes. Be 
sure tliat the costumes vary in design and color scheme and 
blend with the setting. Obviously the costumes of the lords 
and ladies should be rich in velvets and laces, the foresters' 
in green, the Friar's brown, the nuns' black (easily made), 
the rustics' brown or gray, the fairies' white, and the old 
men nondescript. The costume of Shadow-of-a-Leaf may 
be motley. 

Many of the costumes can easily be made from paper 
patterns. A good fairy costume may be made of cheese 
-cloth, three yards of tarlatan, three yards of wire for wings, 
two dozen gems, and a little silver dust. 

In addition to making all the fairies' costumes, money 
may be saved by making or borrowing the swords, lances, 
wands, crowns, ornaments and bows and arrows. 

The make-up work should be in the hands of an expert. 
Avoid all exaggeration. A black wig and beard should be 
provided for the Sheriff, a white wig for Fitzwalter, a red 
wig for Much, and a brown one for the Friar. 

Lack of space does not permit any detailed instructions 
as to what to do if no competent make-up man is available. 
Ample information is furnished in the books suggested. 
With the changes in lighting schemes on the modern stage, 
make-up work has followed accordingly. A good general 
principle is to try to secure the same effect on the stage as 
for the natural light of the street. In this way all exag- 
geration will be avoided. It is a good plan to observe in 
real life the same type of character you wish to affect on 
the stage and apply the make-up accordingly. This 
takes careful observation and some practice, but it can 
be done by the skillful amateur. 



188 SHERWOOD 

THE CAST 

The cast of " Sherwood '' should be chosen with care, 
particularly the characters of Robin Hood, Prince John, 
Queen Elinor, Shadow-of-a-Leaf, Much, Little John, the 
Friar, Richard, Oberon, Titania, Fitzwalter, and Marian. 
The best way to secure an accurately chosen cast is to 
conduct trials. First, study the text carefully until each 
character is clearly outlined in your own mind. Think 
of these characters in terms of all possible available ma- 
terial in the school. By availability is meant not only 
fitness for the part, — appearance, size, voice, personality, 
good memor}', and mental alertness, but also aptness to 
take direction, punctuality, industry, and a proper spirit 
of team work. In order to obtain the first qualities men- 
tioned it may be necessary to sacrifice some of the others, 
and make the best of it. This means harder work for the 
director and the exercise of patience and persistence. 
Often it may be necessary to exclude from the cast those 
whose temperaments make it impossible to work with them 
without handicapping the good work of others. 

After all available material is fixed in mind as a result 
of careful study of the text, and every elimination made, 
call a meeting of this prospective cast. Read the play, or 
certain important sections of it, to them, commenting on 
the characteristics of each person in the play as you read, 
trying to give them an insight into all the matters of voice, 
interpretation, and mental and spiritual qualities they 
manifest. Then take some one act, choose those you have 
first in mind, give them copies, and have them read an 
act or certain scenes, on the stage. Watch closely the 
readiness with which they adapt themselves to the part. 
If, on repeated suggestion, certain ones fail to grasp the 
part, substitute others, until, after repeated trials, your 
final cast is chosen. 

All the students should, in the first place, have a clear 
understanding that they may or may not be chosen. Tact, 



SHERWOOD 189 

amiability, and sincerity on the part of the director ought 
to be able to create this state of mind, if the school has 
anything like the proper spirit of team work and coopera- 
tion to make the play a real success. Often many students 
not chosen finally will be willing to serve as understudies, 
coming faithfully to rehearsals, filling in during necessary 
absences, and thus make themselves available in the event 
of unexpected illness, falling back in academic work, etc. 
This beautiful play, clearly defined in atmosphere, and 
rich with interesting personalities, shows Rohin Hood as 
a man of broad sympathies, poetic mind, and a person- 
ality gentle, proud, vigorous, and noble. His enactor 
should have grace and a well-proportioned body. John 
is arrogant, supercilious, crafty, and selfish. He should 
be portrayed by a tall, dark-complexioned person. Queen 
Elinor should be well-built, and should have a flexible 
voice, capable of shifting from hate and anger to sophistry 
and ingratiating charm. Shadoiv-of-a-Leaf needs most 
careful choosing. Nimble, versatile as to voice and per- 
sonality, poetic, eccentric, human, amiable, grave, foolish, 
commanding, he needs utmost attention. Often a girl can 
enact the part better than a boy. Much has all the quali- 
ties of the clown. Little John should, of course, be as 
immense as possible. Friar Tuck is fat, rollicking, human, 
and sincere. RicJiard, a tall, fair-haired man, is the soul 
of graciousness, dignity, kindness, and of commanding, 
righteous anger. Oheron and Titania should cultivate the 
charm of other-world characteristics, — wistful, mildly- 
declamatory in style, sweet, pathetic in interpretation. 
Fitzwalter may be an old man, childish, inconsistent, 
craven, affected, somewhat blusterous, but with some na- 
tive affection. Marian is the embodiment of everything 
womanly, the woman of " high degree." She has charm, 
a fascinating voice and manner, and a wealth of exquisite 
variability of temperament, — sweetness, affection, imper- 
ious hauteur, leadership, yet complete and wholly disarm- 
ing graciousness in affection. 



190 SHERWOOD 

A word of caution about doubling parts. If all the 
characters are available, of course employ them. It sim- 
plifies stage entrance and costume changing, besides en- 
hancing the interest in the play from all points of view. 
If it is necessary to double any parts, be sure that the per- 
sons chosen are versatile enough to enact the different 
roles. Note the directions carefully about stage entrances 
and intervals of time so as to permit of costume change 
and changes of position in stage entrance. In addition to 
the stage director and prompter some one person should 
be utilized whose sole business it is to see that these changes 
are made, the persons in proper position for stage en- 
trance and in ample time, and to have in their possession 
all the articles they will use in the action. Following are 
suggestions for doubling when necessary: 

Alan-a-Dale and Blondel may be enacted by one person. 

Little John may also enact the Serf, page 3, and take 
the lines of the First Rustic, page 77, Greenleaf, page 102, 
the Second Forester, page 143, and the Forester, pages 
152-153. 

Will Scarlet may take the lines of the First Old Man, 
pages 9-14, the Masker, page 128, and the Messenger, 
page 152. 

Much may enact the Blind Man, pages 9-12, the Forester, 
pages 152-153, Greenleaf, page 102, Arthur, pages 131- 
135, and the First Forester, page 143. 

The Friar may also speak the lines of the Second and 
Third Rustics, pages 77-83. 

The First and Second Woman and the Child, pages 
9-12, the Lady, page 128, and the Prioress, pages 154-159, 
may be enacted by one person. 

Widow Scarlet and the Novice, page 159, may also be 
taken by one person. 

Orchis, pages 68-69, may take the lines of the Fairy, 
page 70. 

Lords and Foresters, Ladies and Fairies, may inter- 
change. 



SHERWOOD 191 

The characters of Oheron, Orchis, Puck, and Shadoiv-of- 
a-Leaf may be taken by girls. 

" Sherwood " de^iiands careful attention to details. There 
should be no misfits. There is such a slight gap between 
poetry and banality, between enchantment and the common- 
place, that it should be undertaken in all seriousness with 
a full consciousness of all tlie attention to detail involved. 
This means well-thought-out construction as to cast, cos- 
tumes, lighting, music, scenery, properties, rehearsals, ad- 
vertising, and the final goal to be reached; namely, the 
production of a play which because of its great beauty and 
force should live in the minds of all who share in the 
enterprise as the rarest occasion in their school lives. 

ACTING DIRECTIONS 

The Prologue — Pages 3-16 

The Forest 

The following enter R : the Serf, Old Man, Old Woman, 
Blind Man, Sheriff and Men, Shadow-of-a-Leaf , Little 
John. 

The following enter L: Prince John and his Men. 

The following enter C : Titania, Oheron, Puclc, Fairies. 

Page 3. Make the initial entrance striking and drama- 
tic. Strike the note of John's character at once — cruelty, 
arrogance. Every word and gesture must carry. The 
Serfs abject behavior should be marked. He throws him- 
self at the feet of Prince John, the Sheriff endeavoring 
to restrain him. Be careful of a balanced stage picture, 
— the kneeling Serf with the Sheriff and his men, and the 
Prince with his men. 

Page 5. John turns to go on the line " Take him off,'' 
but turns on the phrase " But wait." 

Page 6. As the Serf is taken away, R, his words and 
cries trail off into distance as John converses indifferently 
with the Sheriff. 

Page 8. A more dramatic effect can be secured if the 
Serf suddenly appears, R, struggling with his men with- 



192 SHERWOOD 

out a cry, as John is engrossed in his plans, rushes at 
John, but is killed just as he utters a cry of exultation. 
Pause before John's comment, and the Sheriff's statement. 
John's " I am sorry " should be quite casual. Exeunt L. 

Page 9. Only three characters required, an Old Man, 
a Woman, and a Blind Man, tliough more may be used 
if available. Slight pause before their entrance E. The 
pathos of this scene should contrast sharply with the pre- 
vious scene. The Woman takes the Child's lines, substi- 
tuting "Oh," for the word "Mother." 

Page 10. The Old Man should drag the body off as the 
Blind Man potters about. 

Page 11. Little John and Shadow-of-a-Leaf enter E. 
The donkey may be decorated with flowers and fern. 
Shadow-of-a-Leaf should walk him slowly across stage, 
pausing and talking to him. It can be done. 

Page 13. Shadow-of-a-Leaf exits L, his "Hosannas" 
dying away in the distance, while his hearers listen a mo- 
ment. 

Page 14. Little John exits L, the Old Man E. After 
a pause the lights come up in the bunch lights, gradually 
revealing the fence and gate into Fairyland, with Titania 
and Oberon just behind. They come down C to the music 
of the Overture repeated. 

Page 15. When Titania says, " See, they come ! " she 
and Oberon come down L C, as the Fairies enter through 
the gates from either side and down stage in the dance. 
Shadow-of-a-Leaf may reenter and stand with Puck down 
E C, opposite. Titania, Oberon, Puck, and Shadow-of-a- 
Leaf may dance in the center in III. Following are di- 
rections for the dance and chorus: 

There should be sixteen in the group. Fairies enter gate 
in introduction, second measure. 

I. Introduction. Four abreast at gate, — 
4444 
3333 
2222 
1111 



SHERWOOD 193 

a. Step forward with outside foot, raising heel, 

holding three counts (inside foot extended 
backward, arms in fourth position). 

b. Waltz step forward, beginning inside foot. 

(Step, slide, close.) 

4444 

3333 

22 22 

11 11 

Eepeat a. 

c. Eepeat b. waltz step for first eight being taken 

to side, rear eight advancing forward, form- 
ing two rows of eight across stage, — 

22444422 

11333311 
Eepeat a. and c. 

d. Step to outside and pirouette, arms sixth posi- 
' tion. 

II. Dance. 

a. Beginning outside foot, six waltz balance step 

forward, arms in fifth position. 

b. Step and pirouette outside, arms in sixth posi- 

tion. 

c. Six waltz balance step backward, arms in third 

position. Eepeat b. 
Eepeat all of II, with alternate lines advancing 
forward and then backward, and others in op- 
posite directions with rows three and four keep- 
ing back stage. 

III. Forming groups of four in a semicircle, Principals 
coming across in front to form central group, groups mov- 
ing in circles. 

44 44 

33 33 
22 22 

11 pp 11 

PP 



194 SHERWOOD 

a. Eight waltz steps with arms crossed in center. 

b. Eight waltz steps chacging direction. 

c. Eight waltz steps facing inside with hands 

joined. 

d. Six waltz steps facing outside with hands 

joined. 
Einish in large semicircle with Principals 
center. 
IV. Chorus sways right and left. 

a. Two each direction; four pas-de-basque in 

semicircle meeting across back of stage 
(four measures). 

b. Step to right and pirouette; step left and 

pirouette (four measures). 

c. Titania and Shadow three steps diagonally 

forward and point. Oberon and Puck three 
steps forward diagonally crossing in back of 
Titania and Shadow. Repeat all of IV. 
ending in doubles, turn and pose while 
chorus groups for song. (S for standing, 
Si for sitting, K for kneeling, P for pros- 
trate.) 

SSSS 

SSSSSSSS 

KK Si Si KK 

P P 

Page 16. During the last two phrases of song, " The 

forest shall conquer," chorus gradually fades away, moving 

off by side wings and up stage through gate. Song must 

die away in distance, and lights go down slowly, leaving 

stage at end of prologue as at the beginning. The four 

Principals slowly recede through gate, closing it slowly, 

and exeunt slowly, R and L, back of fence. Slow curtain. 

Follow directions on musical score of Chorus strictly, 

for best effect. The duet may be sung by two good solo 

sopranos and two good altos. Try to have plenty of altos 

in the chorus. 



SHERWOOD 195 

If the characters are available, use the last episode, the 
passing of the mortals through the gate, with Titania's re- 
entrance and line. 



Act I — Pages 17-43 
Banqueting Hall of Fitzwalter's Castle 

The following enter R: Marian, Little John. 

The following enter L : Friar, Much, Rohin Hood, For- 
esters, Widoiv Scarlet, Queen Elinor. 

The following enter C : Fitzwalter, 8hadow-of-a-Leaf, 
Gentlemen, Ladies, Sheriff and his Men, John and his 
Men. 

Costume changes from prologue: Little John, Will 
Scarlet, Much, Fairies, Foresters, if doubled. 

There are many characters in this scene. Be careful tO' 
have the costumes in keeping with the color of the stage 
setting, and so to arrange the stage pictures that they are 
well balanced. Study the character of Shadow-of-a-Leaf 
to bring out his semi-serious, semi-whimsical traits. Play 
up the weakness of Fitzwalter. 

Page 17. Eobin enters L, vigorously. 

Page 19. The Sheriff and his men must be seen in 
the doorway, C, but unobserved of those on stage. Eobin 
should have the center of the stage during his long speech, 
which should be delivered with sincerity and feeling and 
should receive close attention by his^ hearers. Shadow 
should crouch on the floor until his lines, page 21. 

Page 22. On Eobin's lines he comes down stage, and 
raises his sword. All the men follow suit. Widow Scarlet 
enters L, and on her second speech kneels to Eobin. 

Page 24. Eobin has one of his men take Widow aside 
when Sheriff enters C. All the men draw their swords 
as Sheriff comes down center and reads his proclamation. 
Create a well-balanced stage picture and practice the 
formation sufficiently so that it will be taken without con- 
fusion. 



196 SHERWOOD 

Page 25. Little John enters C, runs and kneels before 
Robin. 

Pages 26, 27. If a secret door is impracticable, Robin 
should exit R. Marian enters through door down steps 
up R. 

Page 27. Shadow should fall at Marian's feet, on his 
lines. Prince John and his Men enter C. Again work 
for a good stage picture. 

Page 30. Fitzwalter leads his guests out C or, as in- 
dicated, up the steps from whence Marian entered. Pause 
before John speaks. 

Page 33. Fitzwalter should enter unobserved. Marian's 
glance discloses him to John. 

Page 35. John's Men should enter C. It should be 
clear that they did not join the guests. Robin's Men 
enter as indicated, up R. 

Page 36. All the characters on this page exeunt C. 

Pages 36, 37. The most effective treatment of this light- 
ing situation is to employ a bunch light off stage, L, us- 
ing greens and blues. As the other lights dim, gradually 
bring the bunch light on so as to project a stream of light 
on stage. Shadow goes out, C, to look, returns and points 
L, as Queen Elinor enters L. Shadow crouches by stairs. 

Page 39. Fitzwalter enters C. 

Pages 42, 43. Marian exits up stairs R, and Fitzwalter 
and Elinor follow her. Shadow, during this scene, has 
been watching them closely, and as they approach the steps 
he retreats. On their exeunt he drops to the floor by the 
steps and utters his lines piteously. Slow curtain. 

Act II — Scene 1 — Pages 47-74 

The Forest 

The following enter R : Little John, Shadoiv-of-a-Leaf, 
Friar, Widow, Jenny, Titania, Oberon, Orchis, Fairies, 
Blondel. 

The following enter L : Much, Robin, Elinor, Foresters. 



SHERWOOD 197 

Costume changes from Act I: Marian, Elinor, Lords 
and Ladies, if doubled. 

Page 47. Much enters L. 

Page 50. Robin enters L. Little John runs to him 
and feels of his body to see if he has been hurt. 

Page 51. Little John aims his bow off, R. Shadow 
enters R. 

Page 53. Marian enters R. Take time for her by- 
play. Make this scene sincere, not mawkish. 

Page 55. Elinor enters L, unobserved. 

Page 56. All characters on this page enter R. Elinor 
retreats. 

Page 59. Marian exits into hut, as Elinor enters L. 

Page 62. Robin pauses before his reply, " Xone." 
Marian reenters from hut. Robin's men enter from L 
back of hut and take Elinor off L. 

Page 63. The Foresters may come in from all sides 
on bugle call. They seat themselves or lie about. Some 
stand. Seat the principals and study an effective stage 
picture. Jenny, Widow Scarlet, and Shadow should enter 
with them. Note that Little John talves the character of 
Greenleaf, page 64. 

Page 65. Shadow may be picking these flowers during 
the scene. The lights should grow dimmer until the same 
poetic atmosphere is created as in the prologue. 

Page 67. After Robin bids Marian good-night and 
throws himself by the door of the hut, a portion of the 
overture music may be played. The fairies do not enter 
formally, but in groups or individually, lightl}', rhythm- 
ically. 

Pages 67-70. It is impossible to create this entrance 
of Titania. The next best thing is to have her on stage 
in darkness, and on Shadow's lines to throw a flash or 
spot light on her. She enters R. Oberon also enters R 
and in the same fashion. Orchis simply comes out from 
the group, exits R as the fairies enter from all sides. A 
few may have entered as indicated, page 67, the rest at 



198 SHERWOOD 

this point. The music has been playing softly. It may 
now swell out, and the lights may oome up slightly. Again 
strive for a beautiful stage picture. 

Pages 71-74. The wailing is off R. It blends softly 
into the opening bars of BlondeFs song. Use piano off 
stage. His first stanza is heard off stage E; the second 
just as he enters E, the orchestra taking up the music. 
The fairies retreat to one side L. When he passes through 
them and exits L, the fairies cross and mass themselves 
E, listening to the song trail off in the distance. Slow 
curtain. 

Act n — Scene 2 — Pages 77-104 

The Forest 

The following enter E : Sheriff and his men. Will Scar- 
let, Alan-a-Dale, Shadow-of-a-Leaf, John and his men. 

The following enter L: Richard, Widow, Jenny, 
Marian, Rohin. 

Persons on stage are Little John, Much, Friar, Foresters. 

Costume changes from Act II, Scene 1: Little John, 
Much, Friar, Foresters, Rohin. 

Page 77. Eobin enters L. His disguise^ — costume, 
voice, and mannerism should be perfect. 

Pages 79-84. The action of this scene needs thorough 
rehearsal. The Sheriff and some of his Men enter E, 
some off stage holding Will Scarlet. Eobin and his Men 
are massed L. Eobin^s shooting, of course, is directed 
off stage, E, in the direction of Will Scarlet. On page 
82 the Sheriff runs off E when one of his men is shot, 
and Will Scarlet runs on stage E. Page 83 is clear. Each 
director must work out his own problem of a stage fight. 
When the Knight enters, L, and forces his way into the 
fight, it must be at a stage when Eobin's men seem to 
be getting the worst of it. He may appear on horseback, 
jump to the stage, and an attendant may take the bridle 
of the horse. If the horse will not stand still during the 
ensuing scuffle, he may be led aside and the sounds off 



SHERWOOD 199 

stage indicate that Eobin has galloped off on it. The 
Sheriff and his Men are driven off R. Robin gallops off 
R. No evidences of the fight should remain as the rest 
of the crowd follow R. A slight pause may intervene 
before the entrance, L, of Jenny, Marian, and Widow. 

Page 85. The hut to which Jenny takes the Widow may 
be off stage, L. Her next lines, obviously, are to Marian. 

Page 87. The sound is off R, whence John and his 
Man enter. 

Page 88. Marian has retreated L. Jenny goes off L, 
John's Man, R. In Jenny's speech change " that same '* 
to " a." 

Page 89. John does not see Jenny reenter, and slip 
to Marian a bow and arrow which she takes by putting 
her hand behind her. 

Pages 90-94. This scene also needs particularly care- 
ful rehearsal. John's man reenters R. Jenny, page 90, 
steals back of him and pins his arms when he has seized 
Marian. The four struggle. John does not see Robin on 
his entrance, R. Marian had raised her arm to strike, 
but dropped it on John's line, " Come, strike ! '' John's 
men enter R. The two women retreat L during the fight. 
Bugle calls off L. The Knight enters, L, at the moment 
when John is about to stab Robin. Page 92, John re- 
treats up C as Foresters enter on all sides. John is led 
off, L, and is brought back, L, and finally exits L. 

Page 95. Foresters reappear L, with seats and with 
table set with viands, as indicated. This may already 
be set up. Marian and Jenny enter L. 

Page 96. Friar, Will Scarlet, and Foresters enter R. 
Will Scarlet exits L, and reenters, page 98, L, with Ms 
mother, tlie Widow. Shadow enters R, page 98. The 
stage picture should place Marian, the Knight, and Robin 
up C, the rest massed on either side. 

Page 103. Alan should come down stage for his song, 
during opening bars by orchestra. He should employ ges- 
tures to accentuate the song, should strum his harp, and 



200 SHERWOOD 

should include Shadow in his action so that at the end 
of the song, when Shadow approaches him, a tableau effect 
may be secured. Quick curtain. 

Act III — Pages 107-153 
Garden of The King's Palace 

The following enter E: Marian, Eohin, Oheron, 
Blondel, Maskers, Lords, Ladies, John's men, Fitzwalter. 

The following enter L: Elinor, Puck, Prince John, 
Shadow, Little John, Scarlet, Foresters, Friar, Much, 
Maskers, Lords, Ladies. 

Costume changes from Act II, Scene 2 : Marian, Eohin, 
Much, Elinor, Little John, Will Scarlet, Lady, Foresters, 
and Fairies, if doubled. 

Page 107. John and Elinor enter up, L, and come down 
C. 

Page 110. Marian and Eobin enter R, as John 3nd 
Elinor go off L, watching them. 

Page 113. After Eobin exits do^vn E, Marian stands 
watching him a moment, then runs after him calling 
" Eobin ^' several times. 

Page 114. Puck and Shadow enter down L. They 
chase each other a moment, then sit down on the ground. 

Page 116. They hide, E, and Scarlet and Little John 
enter down L. 

Page 117. Shadow had come out on previous page, 
and Puck comes out when the Foresters exeunt down L. 

Page 118. By this time the lights should be gradually 
lowered, using greens and blues to indicate the transition 
from sunset to night. A spot light may be judiciously 
used on Oberon's entrance down E. 

Page 121. The text from here to page 127 is omitted. 
Shadow and Oberon exeunt up E. Shadow may go on 
the line, " Quickly, come quickly." After their exeunt, 
the lanterns may be lowered from the flies into view, page 
128, as John enters E and Elinor enters L. During this 
scene the music of the Gavotte may be played softly, the 



SHERWOOD 201 

strings in the orchestra playing pizzicato. The orchestra 
may be off stage. It comes out full for the dance, page 
130. The Maskers, during this dialogue, come and go 
on the raised platform back of the balustrade. 

Page 128. Marian and Fitzwalter are pacing up R. 
John goes to them, as a Lord and Lady separate from 
the others and come down C. Elinor joins other Maskers. 

Page 130. John and Marian come down C. Fitz- 
walter, after his lines, joins the Maskers. The Maskers 
now take positions for the Gavotte as the music comes 
out full. Those who do not dance may be stationed on 
the seats or back of the balustrade to make an effective 
grouping. 

The directions for the Gavotte follow: 
Four couples across stage. Gentlemen bring ladies to 
places, and all courtesy. 

I. Face forward. 

a. Step outside foot, throw inside across in front. 

b. Chasse, beginning inside (slide, close, slide). 
Chasse outside, point inside foot and hold one 

count. 

c. Beginning inside foot, three walking steps and 

point. Outside foot and three walking 
steps and point inside foot. Repeat all of 
I. Finish facing partners. 

II. Moving back stage. 

a. Cross outside, foot back, inside foot side, out- 

side foot cross forward and point inside foot. 
Repeat starting inside (moving forwai*d 
stage). Repeat again right and left. 

b. Lady walks with eight small steps in a circle 

around partner, and all courtesy (sixteen 
counts), finishing with back to audience in 
a row. 

III. Hands held shoulder height, beginning in a row 

in back, repeat all of II. Finish, facing 



202 SHERWOOD 

forward, and from beginning repeat all of 
I, II, and III. 

Page 131. During the dance Robin totters in down 
E, unobserved, and seats himself on a seat just visible to 
the audience. Arthur's part may be taken by the player of 
Much, who enters L, but sees Eobin just as the dance ceases 
and the Maskers retire up stage and resume their pacing. 
During this dialogue the music may continue softly as on 
page 127, stopping on page 133 on Robin's last word, 
" Yes." 

Pages 134, 135. Break the Maskers up into quick, ex- 
cited groups. Arthur runs off L and brings Marian. 
John finds Elinor and engages her in conversation. 

Page 136. Marian goes R. John appears in the open- 
ing of the balustrade on the platform for his announce- 
ment. Elinor goes off L. Be sure to secure a well-bal- 
anced stage of the Maskers, and a quick readjustment of 
positions on page 137 when Robin strikes John. The 
music of Blondel's song must begin in the orchestra on 
Robin's words, " Back, fools ! " All listen intently to the 
song in the distance. The first two stanzas are off stage. 

Page 138. Robin's exit down R must be made under 
the cover of the Maskers' intent listening to the song. 

Pages 138, 139. The third stanza is sung as Blondel 
comes on stage. He enters up R on the platform back of 
the balustrade. After the Maskers shout " Dead ! " Blon- 
del continues his way and passes off L, repeating the last 
stanza, the Maskers watching him. Then John speaks. 
The Maskers then run out in all directions, mostly R. 
The lights in the lanterns may be extinguished and the 
stage be lighted for moonlight as before ; that is, the lights 
are retained as changed on page 118. 

Page 143. The scene is continuous to this page. When 
the Maskers exeunt. Much and Little John as First and 
Second Forester, enter down L. 

Page 144. Marian appears down R, looking all about 
her, does not see the men at first. Friar Tuck enters L, 



SHERWOOD 203 

stating "I've sent Will Scarlet to Kirklee Priory." 
Robin enters up R and drops on the same seat as in the 
previous scene. 

Page 146. Marian merely seats herself by his side. 
The text here is cut out to page 152. On his last lines, 
page 146, Robin tries to rise, and, as indicated, page 152, 
" Flings up his arms and falls fainting." Scarlet, the 
Messenger, enters down L. 

Pages 152, 153. Little John takes the lines of the For- 
ester. The Foresters lead Robin off L, Little John con- 
ducting Marian off L after them. Quick curtain. 

The Epilogue — Pages 154-169 
The Priory and the Forest 

As stated, stage for epilogue must be set up just as 
for THE PROLOGUE. Down stage, as indicated on diagram, 
set up a plain interior to resemble a Priory. A bunch 
light should stand L to indicate sunset through casement 
window. On death of Robin Hood, while orchestra is 
playing, drop curtain a few seconds while The Priory set 
is struck, to reveal The Forest. The stage men must move 
it quickly. Do not turn on the house lights. If there are 
sufficient stage men, the stage lights can all be thrown 
off, the set may be moved in the dark, and the curtain 
need not drop. This will produce a better effect, since the 
lights disclosing the forest in moonlight may come grad- 
ually on. The lights revealing Fairyland up stage should 
come up later. However, if the curtain is lowered, tlie 
scene should show Shadow-of-a-Leaf standing in the gate. 
The music should change to his song. With spot light 
on him, he should sing song, gradually working down stage 
to bodies of Robin and Marian lying unmoved, and kneel. 
Fairies enter gates, and circle about the bodies (see p. 
164), exeunt through gates. Oberon and Titania remain 
at gates, and close them on Shadow. 

The following enter R : Marian, Shadow, 

The following enter L: Elinor, Robin. 



204 SHERWOOD 

The Fairies and Foresters enter E and L. 

On stage are the Prioress and the Novice, 

Costume changes from Act III are the Lady to the 
Prioress, Widow Scarlet to the Novice, Elinor, Marian, 
Lords, Ladies. 

Pages 154, 155. A knock at the door is heard, L, which 
calls for the Prioress's " Who's that ? " The Novice exits 
L, and returns at once. Of course Elinor enters L, and 
the Novice retires L. 

Page 157. After the bell ceases tolling, the chanting 
of the Miserere to organ accompaniment off stage should 
begin, and keep up until the entrance of Eobin Hood. A 
few girls garbed as nuns can create the illusion of many 
nuns passing by the window on the way to chapel, by pass- 
ing and repassing. The bunch light showing sunset (am- 
bers and reds), may gradually change to moonlight, the 
necessary lighting for The Forest scene back stage, by 
blending greens and blues, and gradually withdrawing the 
ambers and reds. The Novice exits L, the Prioress, R. 
Eobin enters L, unattended. He has bow and arrows, 
and bugle, which he drops to the floor at sight of Elinor. 

Pages 159, 160. The Prioress enters and exits E. The 
Miserere may be chanted again while Elinor is lancing the 
arm of Eobin. Marian enters E. The music continues 
up to Eobin's bugle calls. 

Page 160. Elinor stabs Marian with a dagger and exits 
L. 

Page 161. Shadow enters E and exits E. If possible 
let him climb in and exit by the casement. 

Page 162. After Eobin's bugle call, and the faint ones 
from the forest, and the Foresters^ knocks on the two doors, 
E and L, the music ceases, the nuns run to and fro out- 
side the easement, and the Foresters, with loud cries, rush 
in by way of the two doors. 

Page 164. After Eobin shoots his arrow through the 
casement, the music to accompany Eobin's death begins, 
continues during change of scene, and then merges into 



SHERWOOD 205 

Shadow's song. After his exit through the casement he 
merely goes up stage and takes his place at the gates of 
the fence until the Priory set is removed. Little John 
places Eobin's body by the side of Marian's body, and when 
the scene changes to The Forest scene, as indicated, their 
bodies are still lying as placed, but now as if transported 
to the forest. Shadow, still singing, comes down stage 
to the bodies, and kneels. The Fairies throng in on all 
sides up stage and through the gates, and circle about the 
bodies, extending their arms to them as if to take them 
with them, symbolizing, in fact, that they do carry their 
spirits off to Fairyland. They exeunt through the gates 
and off R and L. Shadow finishes his song, and drops 
prostrate by the bodies. 

Pages 168, 169. Titania and Oberon appear at the 
gates. Use spot light. They come down stage for their 
dialogue, and return to the gates and close them behind 
them on Oberon's last lines, page 169. Meanwhile, Shadow 
is still kneeling over the bodies of Robin and Marian, 
and the Fairies are softly singing their song in the dis- 
tance. As the gates close. Shadow starts up, runs and 
throws himself against the gates as indicated, page 169. 
The music dies away. Oberon and Titania exeunt R. The 
spot light is retained on Shadow, softened, and the other 
lights are subdued. Slow curtain. 



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